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00:00:00Let's get started.
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00:04:34Hi, I'm Kori Murray,
00:04:35Entertainment and Talent Director at Essence
00:04:37and co-host of Yes Girl Podcast.
00:04:39And you're watching the Essence Festival of Culture.
00:04:42And up next is going to be something I love to talk about,
00:04:46which is entertainment all access.
00:04:48I mean, celebrities, Black creatives,
00:04:50everything they've got going on,
00:04:52what's new and next.
00:04:53So please stick around
00:04:54because we have a lot in store for you.
00:04:56I have a new one.
00:04:57I think she has potential.
00:05:02Who are you?
00:05:03I lead a group of fighters.
00:05:04We're an extremely rare skill set.
00:05:07So we really never die.
00:05:10Are you good guys or bad guys?
00:05:12We fight for what is right.
00:05:16You're one of us now.
00:05:17Let's go to work.
00:05:20What's up with that?
00:05:21Wait for the signal.
00:05:22How can you even tell?
00:05:25Oh.
00:05:33Welcome, everybody.
00:05:35I'm Danielle Young,
00:05:36journalist, content creator,
00:05:38and Blue Ivy's best friend.
00:05:40So excited to be here at Essence Festival
00:05:42because we are here with Radha Blank.
00:05:45If you guys don't know,
00:05:46she is a director,
00:05:48a writer,
00:05:48an actress,
00:05:49and just an all-around dope human.
00:05:51So her film,
00:05:53a 40-
00:05:53Aw.
00:05:54Hey, Radha.
00:05:55Her film,
00:05:56the 40-year-old version,
00:05:58it's hit its directorial debut,
00:06:00and it's all wrapped up
00:06:01in all kinds of Black woman history
00:06:04making realness.
00:06:05Radha is the second,
00:06:07it took me a second
00:06:09to like reel this in for myself,
00:06:11but Radha is only
00:06:12the second Black woman director
00:06:14to win at Sundance.
00:06:17In the words of Beyonce,
00:06:19ain't that about a...
00:06:21But it's still good
00:06:24because guess what?
00:06:26Radha was not only,
00:06:27she was not the only Black woman
00:06:29within this competition at Sundance,
00:06:31which is also history-making
00:06:33and a beautiful thing
00:06:34to see other Black women filmmakers
00:06:36be able to compete
00:06:37at such a high-profile film competition.
00:06:43So I'm so proud of you, Radha,
00:06:44for that.
00:06:44Oh, thank you so much.
00:06:46So it's...
00:06:47It's a big deal.
00:06:48It is a big deal,
00:06:49and we're definitely gonna talk
00:06:50a lot about that, okay?
00:06:53We're gonna try to make it happen
00:06:54in the time that we have.
00:06:54We're gonna try to make it happen
00:06:55in this 15 minute.
00:06:57Yeah.
00:06:57But this film,
00:06:58the 40-year-old version,
00:07:00Radha plays Radha,
00:07:02the lead character,
00:07:03but she's also the director,
00:07:06the filmmaker.
00:07:07So let's dig into this
00:07:09a little bit, Radha.
00:07:11How about...
00:07:12Radha.
00:07:13Tell me how you found your voice
00:07:17as a director,
00:07:18and especially as a film
00:07:19that feels so personally connected
00:07:21to also you as an artist.
00:07:24Yeah.
00:07:25Yeah, I mean, I...
00:07:27Here's the thing,
00:07:28is I hope to have
00:07:29a long-storied career
00:07:30as an auteur,
00:07:31but I knew
00:07:34in telling this story,
00:07:36I couldn't play 39 forever.
00:07:38Yes, I moisturized,
00:07:39and so, you know,
00:07:40maybe one other 10 years,
00:07:42but I knew that there was something
00:07:44about making this my first film.
00:07:47Just strategically,
00:07:48you know,
00:07:49you put a name with a face,
00:07:50and that familiarity
00:07:51might create opportunities
00:07:53to make a second film.
00:07:54But really,
00:07:56it's like I...
00:07:57Though I've never directed before,
00:07:59I feel like
00:08:00everything else I've done
00:08:01in my life as an artist
00:08:02prepared me for this.
00:08:03I was a stand-up comic
00:08:04for many years.
00:08:05I was a public school teacher
00:08:07for many years,
00:08:09and working a lot of times
00:08:11with non-professional actors,
00:08:13young people,
00:08:14who wanted to tell a story.
00:08:16And so I feel like
00:08:16that was my training ground,
00:08:18and now was the time.
00:08:20It was quite a journey
00:08:23to get here,
00:08:24a lot of no's.
00:08:26And the person who said
00:08:27the biggest and most important yes
00:08:29to me was Lena Waithe.
00:08:30And so it kind of just affirmed
00:08:32for me how important it is
00:08:35to gain the support
00:08:37of another Black woman.
00:08:38And, you know,
00:08:40her trusting me
00:08:41with my own vision
00:08:42was a big deal.
00:08:44But yeah,
00:08:45it's been quite a journey,
00:08:47and I'm just so happy
00:08:48to finally get to share
00:08:50the story
00:08:52that I wrote
00:08:53and created with us in mind
00:08:55as Black women,
00:08:56where we're centered
00:08:57and we're complex.
00:08:58And yeah,
00:09:00it's a big deal.
00:09:01Well, I love,
00:09:02it is a big deal,
00:09:03Radha.
00:09:04Congratulations,
00:09:05because, you know,
00:09:06it's all shiny
00:09:07and beautiful
00:09:07when you see,
00:09:08oh, Radha Blank,
00:09:09she wins Sundance,
00:09:10history making.
00:09:11It's amazing,
00:09:12but there's so much work
00:09:13that goes behind that,
00:09:14to your point.
00:09:15And then there's also
00:09:16so much work
00:09:16that goes on
00:09:17beyond that
00:09:18after you have had
00:09:19the historic win
00:09:20and then you become
00:09:21the filmmaker
00:09:22that everybody gets
00:09:24to have their eye on
00:09:25and then now what,
00:09:25right?
00:09:26So I want to talk about
00:09:27your art
00:09:29as Black as it is,
00:09:31as unapologetic
00:09:32as it is,
00:09:34as Black and white
00:09:35as it is,
00:09:36this particular thing.
00:09:38Can you talk
00:09:38a little bit about,
00:09:40because the time
00:09:40that we find ourselves
00:09:41in right now
00:09:42is chaotic,
00:09:46but we're seeing
00:09:47a lot of things
00:09:49come because of it.
00:09:50And one of those things
00:09:51is the,
00:09:53all of a sudden
00:09:55realization
00:09:55of the importance
00:09:56of Black lives,
00:09:58Blackness,
00:10:00Black culture.
00:10:01Right.
00:10:02And it's,
00:10:02you know,
00:10:03it's a beautiful thing
00:10:04to watch,
00:10:04but it's also starting
00:10:05to feel a little like
00:10:06Blackness as a trend
00:10:08almost.
00:10:08I know that
00:10:10Radha,
00:10:11the character,
00:10:13deals with a lot
00:10:13of that within this film,
00:10:15especially being a creator
00:10:16and wanting to get
00:10:17her Black art out.
00:10:19So as the creator,
00:10:21but also as the creation,
00:10:23how does that feel
00:10:24for you to dwell
00:10:25within this space
00:10:26of Blackness
00:10:27that feels
00:10:28like it's being looked
00:10:29at almost as like
00:10:30it's a trend right now?
00:10:32Yeah,
00:10:33I mean,
00:10:33for better or for worse,
00:10:35there's so much focus
00:10:36on us right now.
00:10:37And I think
00:10:38as a person making art,
00:10:40I was conflicted
00:10:41about that
00:10:41because I'm just like,
00:10:42how am I showing up
00:10:43for us?
00:10:44You know,
00:10:44like I think filmmaking
00:10:47and storytelling
00:10:47is my activism.
00:10:49You see me confront
00:10:51white gatekeepers
00:10:52in the film.
00:10:54But I hope that
00:10:56beyond this,
00:10:58you know,
00:10:59being a story
00:10:59where Black women
00:11:00centered,
00:11:01you just see this artist
00:11:03on this journey
00:11:04because we go
00:11:05through that too.
00:11:05You know,
00:11:06and I hope
00:11:07it's an expansion
00:11:08on Black life
00:11:09in that,
00:11:10you know,
00:11:11like I'm obsessed
00:11:11with things
00:11:12like mundanity.
00:11:13I'm obsessed
00:11:14with things
00:11:15like silence.
00:11:16I'm obsessed
00:11:17with things
00:11:18that show us
00:11:19in ways
00:11:20we aren't often
00:11:21depicted.
00:11:22You know,
00:11:22like I think
00:11:25a lot of times
00:11:26when people get
00:11:27behind Black storytelling,
00:11:29they think
00:11:30conflict equals drama.
00:11:32And so there's
00:11:34a certain kind
00:11:35of Black experience
00:11:36that gets heralded.
00:11:38And this to me
00:11:40is about putting
00:11:41a Black story
00:11:43in the context
00:11:44and the canon
00:11:45of classic New York films
00:11:46where people like Spike
00:11:48and Woody
00:11:48are just these,
00:11:50you know,
00:11:50kind of people
00:11:51fumbling through life.
00:11:52And this isn't
00:11:53about a Black woman
00:11:54who has her two hands
00:11:56on her hips
00:11:57and is all-knowing.
00:11:58She's just like
00:11:59approaching 40
00:12:01and still hasn't
00:12:02figured it out.
00:12:03And how does that
00:12:04contribute to this
00:12:06rounder,
00:12:07you know,
00:12:08presentation
00:12:09of who we are
00:12:10and who we can be?
00:12:12It is a comedy.
00:12:14It does sometimes
00:12:15well in a dramatic space.
00:12:17But really,
00:12:18it's just
00:12:19that typical
00:12:21New York
00:12:23creative
00:12:24self-deprecating
00:12:26artist story
00:12:27just with us
00:12:29at the center.
00:12:30You know,
00:12:30so I'm not
00:12:31creating anything new.
00:12:33I think that the
00:12:33lens is different.
00:12:35But I feel like
00:12:36this film,
00:12:38the story is familiar
00:12:39to anyone who knows
00:12:41about those
00:12:41New York creative stories.
00:12:42The story is familiar.
00:12:43It's just about
00:12:44inserting us
00:12:45in a canon of film.
00:12:47I mean,
00:12:47there's a reason
00:12:47why it's shot
00:12:48in Black and White.
00:12:49It's like
00:12:49to retrofit
00:12:50the story
00:12:51into
00:12:53a style
00:12:55and in a way
00:12:56a story
00:12:58that she's been told
00:12:58maybe 30 years ago.
00:13:01And also
00:13:02to speak to
00:13:03this hip-hop element
00:13:07to the story.
00:13:08And a lot of times
00:13:09the hip-hop culture
00:13:09is presented
00:13:10through a very
00:13:11oversaturated,
00:13:12over-sexualized,
00:13:14where shooting
00:13:14in Black and White
00:13:15cools everything down
00:13:17to a certain level
00:13:18of sophistication
00:13:19and vulnerability
00:13:20where we're not always
00:13:23seen in that way.
00:13:24And so,
00:13:25you know,
00:13:26I guess it is,
00:13:27again,
00:13:27my version of activism.
00:13:29At the end of the day,
00:13:30it's another artist's story,
00:13:32really.
00:13:32Right.
00:13:33And it feels that way.
00:13:34I love the
00:13:36honest-to-goodness
00:13:38vibe
00:13:39of the lead character,
00:13:41yourself,
00:13:41Rada,
00:13:42being this 40-year-old woman
00:13:44dreaming
00:13:45and looking for something
00:13:47that's inside herself
00:13:48to place herself on,
00:13:50to place her bet
00:13:51on herself on.
00:13:52And it's really dope
00:13:54to watch that.
00:13:55And I know that
00:13:55we have a clip.
00:13:57So I hope that we,
00:13:58yes,
00:13:59so let's play
00:14:00that amazing clip
00:14:01that we have
00:14:01that's called
00:14:03Poverty Porn.
00:14:04Let's get into it.
00:14:06I just want to be
00:14:07an artist.
00:14:12Mommy, please.
00:14:15Mommy, please
00:14:16tell me what to do.
00:14:18Tell me.
00:14:19Girl, don't flake.
00:14:26Bitch, let's evade.
00:14:27Bring that ass here
00:14:28and let me pound a pound kiss.
00:14:30I say, girl, don't flake.
00:14:32Bitch, let's evade.
00:14:33Bring that ass here
00:14:34and let me pound a pound kiss.
00:14:35Yeah.
00:14:35Yo, where my period at?
00:14:46Oh, shit, there it go.
00:14:48Right next to belly bloating
00:14:50and this spotty flow.
00:14:52Yo, where my damn house keys?
00:14:54Why my lower legs hurt?
00:14:56Side Attica lock legs
00:14:57like Attica World.
00:14:58Yo, why my ass always horny?
00:15:00Why I always gotta pee?
00:15:02Why the young boy on the bus
00:15:03offer his seat to me?
00:15:05Why my skin's so dry?
00:15:07Why am I yawning right now?
00:15:09Why them AARP niggas
00:15:10sending shit to my house?
00:15:12So, Radha.
00:15:15Yeah.
00:15:16We got to see
00:15:17a little bit of
00:15:19one version of herself
00:15:21that Radha gets to be
00:15:23at this age.
00:15:24Can you talk a little bit
00:15:25about this clip
00:15:26that we just saw?
00:15:27Well, I think, you know,
00:15:31this is a woman who,
00:15:32you know,
00:15:33the idea of somebody
00:15:34wanting to return to hip-hop
00:15:36at 39, 40 years old,
00:15:38I think
00:15:38people's impulse
00:15:40may be to laugh.
00:15:41And I think that this clip
00:15:42kind of shows, like,
00:15:44she does have the goods.
00:15:46She did have them at one time,
00:15:48which kind of speaks to, like,
00:15:50this idea that you don't age
00:15:51out of your passion.
00:15:52And, you know,
00:15:54women of a certain age
00:15:56are just expected
00:15:57to have a certain,
00:16:00get to a certain place
00:16:01in their life.
00:16:02That they know who they are.
00:16:04They are exploring things
00:16:06that feel, you know,
00:16:07aligned with a certain age.
00:16:09And I think the clip
00:16:11is pushing at that.
00:16:14Saying, like,
00:16:15maybe people are waiting
00:16:16for her to mess up,
00:16:17but the clip kind of affirms
00:16:19that, like, yo,
00:16:20she can spit.
00:16:21You know what I'm saying?
00:16:22She never lost that.
00:16:24And it becomes
00:16:26a pivotal moment
00:16:27in the relationship
00:16:28between these two characters.
00:16:30This man now
00:16:31seeing her
00:16:31in a different way.
00:16:33She's not just a yo lady.
00:16:34Now it's like,
00:16:35who is this person?
00:16:37Which speaks to just, like,
00:16:39us having different
00:16:40kinds of beauty.
00:16:42You know,
00:16:42I think before this moment,
00:16:43maybe he did not see her.
00:16:44She was just anybody else
00:16:45looking for some beats.
00:16:47And this is a pivotal moment
00:16:48in their relationship.
00:16:50Yeah.
00:16:50Well, listen, Brada,
00:16:51I love it so much.
00:16:52I love the relationship
00:16:53between the two of them.
00:16:55I love, Brada,
00:16:56you and your character.
00:16:59Yeah, one of the reasons
00:17:00that I love
00:17:01and I'm endeared towards her
00:17:02is she's a dreamer,
00:17:05but she's not packaged
00:17:06in the typical dreamer package.
00:17:08You know, like,
00:17:09sometimes we might think,
00:17:10especially for Black women,
00:17:11dreaming ages out
00:17:12at a certain time,
00:17:14or Black women aren't really
00:17:16given the space to do so
00:17:19because we are thinking
00:17:22that we need safety nets.
00:17:23We need stuff that is practical.
00:17:27So, as we wrap up
00:17:28this amazing panel
00:17:29to talk about
00:17:30the 40-year-old version,
00:17:31I'd love to know
00:17:32what dreaming means to you.
00:17:35And now that you have
00:17:36accomplished a dream
00:17:38of being able to create
00:17:39as a filmmaker,
00:17:41what does remixing the dream
00:17:43look like for you
00:17:44after having hit it?
00:17:46Wow, that's a great question.
00:17:48I think dreaming
00:17:48just means remaining open
00:17:51to what's possible
00:17:53in your life,
00:17:54whether it's a new love
00:17:55or relocating to a new city,
00:17:58picking up a new passion.
00:18:00It's just not limiting yourself
00:18:02in terms of what's possible.
00:18:04I mean, I created my first film
00:18:05in my 40s.
00:18:07You know, like,
00:18:08I think our business
00:18:08is often obsessed with youth.
00:18:11And women of a certain age
00:18:13are overlooked
00:18:13and kind of dismissed
00:18:15and put out to pasture.
00:18:16And I'm hoping that this,
00:18:18when I perform
00:18:19as Rodimus Prime,
00:18:20I'm often, you know,
00:18:22just, I'm always so thrilled
00:18:25by how embraced I am
00:18:26by women of a certain age
00:18:27in the audience.
00:18:28You know, they'll tell me
00:18:29things like, wow,
00:18:30this gave me, you know,
00:18:31the little push I needed
00:18:32to go get another degree
00:18:34or to take on another lover.
00:18:37You know what I'm saying?
00:18:38And so I think the idea,
00:18:40hey, hey,
00:18:41because I'm a fan of that.
00:18:43Ladies, let's do it.
00:18:452020.
00:18:47I think it, you know,
00:18:49I'm all about encouraging
00:18:50that idea.
00:18:51And the thing,
00:18:53I love this question
00:18:53about remixing the dream
00:18:55is now that the film is done,
00:18:57I can't say,
00:19:00oh, I wish,
00:19:02I can't wait to become a director
00:19:03because now I am officially.
00:19:06And so what does it mean
00:19:07to walk through the world
00:19:08having achieved something like that?
00:19:10I mean, I stand differently.
00:19:12I talk different, you know,
00:19:13because I did not only
00:19:16the hardest thing
00:19:17I could have ever done,
00:19:18but I think I've kind of engaged
00:19:20in what I feel
00:19:21is the most radical act
00:19:22of self-care and self-love.
00:19:24And in a world
00:19:25that we're living in now,
00:19:27like self-love is a revolution.
00:19:29When so many people
00:19:30devalue our lives
00:19:32and our stories,
00:19:33for us to stand up and say,
00:19:35in spite of all of these no's
00:19:38and people saying,
00:19:39why you?
00:19:40You choosing yourself
00:19:41and putting yourself out there
00:19:43and then seeing what's possible.
00:19:44Like, just the idea
00:19:45that I've actually begun
00:19:47a career as a filmmaker
00:19:49in my 40s,
00:19:50I think says a lot
00:19:51about what's possible
00:19:52in terms of remixing dreams.
00:19:54We just have to remain open.
00:19:55Um, we have to stay human.
00:19:59We have to celebrate each other.
00:20:01We have to, as Black women,
00:20:02continue to stand by each other.
00:20:05I don't know that
00:20:05I would have made this film
00:20:06if it wasn't Felina
00:20:07trusting me with my own vision.
00:20:10So my hashtag for 2020
00:20:12is not just F Corona.
00:20:15It is hashtag trust Black women
00:20:17and hashtag continue
00:20:19to trust Black women
00:20:20because, again,
00:20:21it was six years of no
00:20:22and Felina,
00:20:24it was the easiest,
00:20:25yes, she could have given.
00:20:27So I'm hoping that,
00:20:29you know,
00:20:30also when people see
00:20:31the behind-the-scenes shots
00:20:32of all the women,
00:20:33all the queer folks,
00:20:34all the people of color,
00:20:36all the feminist men
00:20:37working on this film,
00:20:38that they'll be invigorated
00:20:41about what's possible,
00:20:42you know,
00:20:43since Spike started it
00:20:45to where we are now.
00:20:47Just really pushing
00:20:49the envelope around
00:20:50taking ownership
00:20:52of our stories.
00:20:53Right.
00:20:54Got it.
00:20:54Amazing.
00:20:55Thank you for sharing that.
00:20:57I'm so glad we got a chance
00:20:59to have our conversation.
00:21:00You know,
00:21:01I'm a fan of you.
00:21:02Danielle Young,
00:21:04I'm such a fan.
00:21:05You better stop.
00:21:06I'm a fan of you.
00:21:09I am so in awe
00:21:11of everything
00:21:11you've been able to do
00:21:13and how you remixed
00:21:14the dream
00:21:15at all times.
00:21:16And I'm so,
00:21:18so thrilled
00:21:18to see this happen for you.
00:21:19I'm excited to see
00:21:20the world get a chance
00:21:22to hold on to this film
00:21:23because, y'all,
00:21:24I'm not just,
00:21:25I'm not gassing it
00:21:26because I'm partial
00:21:27and I love her.
00:21:28She's brilliant.
00:21:29And the film is brilliant.
00:21:30Fall in love.
00:21:31Comes out in the fall
00:21:32on Netflix.
00:21:33Thank you to my Netflix family
00:21:34for getting behind me.
00:21:36Yes.
00:21:36And I can't wait
00:21:37to share this
00:21:38with all my sisters out there.
00:21:39I'm excited for you, Rada.
00:21:40Congratulations to you.
00:21:42Our history-making
00:21:43Sundance Black woman director.
00:21:48Congratulations.
00:21:48Yay.
00:21:49And also, thank you,
00:21:51like Rada said,
00:21:52to Netflix.
00:21:52Thank you to Essence.
00:21:53Thank you to Essence Festival.
00:21:55I'm your girl,
00:21:56Danielle Young.
00:21:58I'm Rada Plank.
00:22:04It's Mama again, baby.
00:22:06He's been gone
00:22:07since 8 o'clock last night.
00:22:08There was an incident.
00:22:10That is all I can tell you.
00:22:12Not acceptable.
00:22:13Where's our son?
00:22:15I have kids, too.
00:22:16Any of them black?
00:22:17Excuse me?
00:22:18Let me start again.
00:22:21The world still looks at him
00:22:23like it looks at me.
00:22:25I don't know
00:22:26what you expect me to do.
00:22:27Find my son!
00:22:35My clue.
00:22:36Got earth hanged out of man.
00:22:37What do you need?
00:22:38What's your name?
00:22:40Autumn night.
00:22:43I need you
00:22:44to break her hand.
00:22:45If it's one thing
00:22:46I know how to sell,
00:22:48it's an experience.
00:22:51Life is just
00:22:52a long day's journey
00:22:53into tomorrow.
00:22:54Hold on to me!
00:22:55Ah!
00:22:57It's just going to make it
00:22:58through the long, dark nights.
00:22:59Hey, welcome back.
00:23:11I'm Kori Murray
00:23:12and you are in
00:23:13for a special treat
00:23:14because
00:23:15I'm about to talk
00:23:16to the creator
00:23:17and showrunner
00:23:18of your next
00:23:19favorite show.
00:23:21Okay?
00:23:21And it's on Starz.
00:23:22It's called
00:23:23Pea Valley.
00:23:24Please welcome
00:23:25Katori Hall.
00:23:28Hello!
00:23:29Hi!
00:23:30Oh my God.
00:23:32I'm good.
00:23:33I want to confess
00:23:35I've only been
00:23:37to a strip club
00:23:38once in my life.
00:23:39Wow, okay.
00:23:41Right?
00:23:41And it was recently
00:23:42before Corona.
00:23:45Before Corona.
00:23:46And now watching
00:23:48Pea Valley,
00:23:49your show,
00:23:50I have like
00:23:52a whole new
00:23:53view
00:23:53of these women.
00:23:56But
00:23:56I'm talking
00:23:58as if everyone
00:23:59that's listening to us
00:24:00knows what we're
00:24:01talking about.
00:24:01So can you please
00:24:03tell us the premise
00:24:04of your Pea Valley?
00:24:06So Pea Valley
00:24:07is set down
00:24:08in the Dirty Delta
00:24:09in a club
00:24:11called The Pank.
00:24:12It centers
00:24:13on the lives
00:24:15of the women
00:24:16who are working
00:24:17and dancing there.
00:24:18It's about,
00:24:19you know,
00:24:20their relationships
00:24:21with each other,
00:24:22their relationships
00:24:23with themselves,
00:24:24their relationships
00:24:25with the customers.
00:24:27It's all about
00:24:28that grit and glitter,
00:24:29that ish
00:24:30and that shine.
00:24:32And we enter
00:24:33the world
00:24:33through this
00:24:35mysterious
00:24:35newcomer
00:24:36named Autumn Knight.
00:24:37Now,
00:24:39this series,
00:24:41there wasn't always
00:24:42just a series,
00:24:43correct?
00:24:43It started on stage.
00:24:45So it started out
00:24:46as a play.
00:24:47And what's crazy
00:24:49is that
00:24:50it took me
00:24:51six years
00:24:52to make it
00:24:53into a play.
00:24:55I interviewed
00:24:56over 40 women.
00:24:59I visited
00:24:59like so many clubs
00:25:01from the north
00:25:02to the south
00:25:03because I really
00:25:04wanted to get
00:25:05the authentic
00:25:07experience
00:25:08and I wanted
00:25:09to just research
00:25:10it so I got
00:25:11every detail right.
00:25:12And so I put
00:25:13all of this
00:25:14information
00:25:15up into this play
00:25:16and I remember
00:25:17when I watched it,
00:25:18I was like,
00:25:19girl,
00:25:20you ain't wrote
00:25:20no play.
00:25:21You done wrote
00:25:22a TV show
00:25:22because these characters
00:25:24got legs for days
00:25:25like literally
00:25:26and figuratively.
00:25:27You know,
00:25:27you want to be
00:25:28inside this world
00:25:29for a very long time
00:25:31because there's just
00:25:31so many stories
00:25:32to tell.
00:25:33Not only the stories
00:25:34of the dancers
00:25:35but the stories
00:25:36of the people
00:25:36who come in.
00:25:38And I'm just so happy
00:25:39that Stars gave me
00:25:40this opportunity
00:25:41to move into
00:25:42like a longer
00:25:43format story
00:25:44for the show.
00:25:46Now,
00:25:47speaking of the six,
00:25:49going back really quickly
00:25:50to the six years.
00:25:52Now,
00:25:52the reason also
00:25:53it took six years,
00:25:53you were doing
00:25:54some other things,
00:25:55correct?
00:25:56Come on now.
00:25:58Well,
00:25:58in terms of just
00:25:59my life.
00:26:00Your life.
00:26:01My life.
00:26:02I had two kids.
00:26:04You know.
00:26:06You had a Broadway
00:26:07play open up.
00:26:08I was developing
00:26:09Tina,
00:26:11the Tina Turner musical.
00:26:13You know,
00:26:13I had an off-Broadway
00:26:14play.
00:26:15You know,
00:26:16from the play
00:26:17to the actual TV show,
00:26:19it took me even
00:26:19four years
00:26:20added on to that six.
00:26:22So just thinking
00:26:22I've been on
00:26:23an odyssey,
00:26:25like a real talk
00:26:26odyssey
00:26:26when it came
00:26:27to this show.
00:26:28life is what it is.
00:26:31I think because
00:26:32I had my own
00:26:33lived experience,
00:26:34I was going through
00:26:35my ups and downs,
00:26:36it really helped me
00:26:37just use everything
00:26:38that I was going through
00:26:39and infuse
00:26:41the characters,
00:26:42you know,
00:26:43just with that
00:26:43artistry
00:26:44and that realness.
00:26:46Because,
00:26:46you know,
00:26:46these women,
00:26:47they're just like me
00:26:48and you.
00:26:48Like,
00:26:49they're our sisters,
00:26:50they're our daughters,
00:26:51they're our mothers,
00:26:52and I was just
00:26:53really happy
00:26:54as a black woman
00:26:55who really understands
00:26:57that long history
00:26:59of, like,
00:26:59hyper-sexualized images
00:27:00to be given
00:27:01a platform
00:27:02so that I could,
00:27:03like,
00:27:03really humanize them
00:27:04because,
00:27:05you know,
00:27:05they've been stigmatized,
00:27:07they've been shunned,
00:27:08and, you know,
00:27:09the world of
00:27:09exotic dancing,
00:27:10it exists,
00:27:12and I really wanted
00:27:13to put a human face
00:27:14on these dancers.
00:27:17What I love, too,
00:27:18I mean,
00:27:18there's so many things
00:27:19I do love.
00:27:19I love what you're saying
00:27:21about the stories
00:27:21because immediately
00:27:22you're drawn into,
00:27:25I believe it's
00:27:26Autumn's character
00:27:27who is seemingly
00:27:29running from
00:27:30the floods,
00:27:31correct?
00:27:32Of being displaced.
00:27:34And so that's
00:27:35a very real thing
00:27:36and then to see
00:27:36the outcome,
00:27:37but one thing
00:27:38I'm curious about
00:27:39and I've read you
00:27:40talk about this
00:27:41is that you,
00:27:42just reading the logline,
00:27:44you think stripper club,
00:27:45you think the South,
00:27:47black women,
00:27:48you're like,
00:27:48okay,
00:27:48this is players club
00:27:49or this is another
00:27:50take of hustlers,
00:27:52but you've said
00:27:52you don't mind
00:27:53those comparisons.
00:27:54Can you talk about
00:27:55why you don't?
00:27:56You know,
00:27:56I definitely feel
00:27:57as though,
00:27:58you know,
00:28:00we descend from
00:28:01the players club
00:28:02and that,
00:28:03you know,
00:28:03that was a movie
00:28:04that really
00:28:06moved the culture.
00:28:08You know,
00:28:08for a minute,
00:28:09it was number one
00:28:10on Netflix.
00:28:10It was either number one
00:28:11or number two
00:28:12during quarantine.
00:28:13So people were like
00:28:14going back into the crates
00:28:15and looking at that movie.
00:28:17It was like
00:28:18one of the first movies
00:28:19that really,
00:28:20I would say,
00:28:22visually articulated
00:28:23a black southern
00:28:24strip club,
00:28:25right?
00:28:25In terms of hustlers,
00:28:27I always say
00:28:28that we're sisters.
00:28:29The fact that,
00:28:30you know,
00:28:31that particular story
00:28:31was told from
00:28:32the female gaze,
00:28:33which is something
00:28:34that I think
00:28:35our show
00:28:36is extremely successful at.
00:28:37You know,
00:28:38we center the stories
00:28:39of the women.
00:28:40We experience the world
00:28:42through the women.
00:28:43We are up on the pole
00:28:44with the women.
00:28:46So I really feel
00:28:48this though.
00:28:48My show is definitely
00:28:49in conversation
00:28:50with those pieces.
00:28:54And I just hope
00:28:55that we're adding,
00:28:56you know,
00:28:56a different,
00:28:58unique perspective
00:28:59in that we are
00:29:01not only dealing
00:29:02with,
00:29:02you know,
00:29:03the lives
00:29:04of the dancers,
00:29:05but, you know,
00:29:06you think of the character
00:29:06of Uncle Clifford,
00:29:08this non-binary,
00:29:09gender-fluid hustler.
00:29:11Like,
00:29:11we never get an opportunity
00:29:12to see Uncle Clifford's
00:29:13on TV.
00:29:15And like,
00:29:15the fact that Uncle Clifford
00:29:16gonna be in people's
00:29:17living rooms
00:29:18is like,
00:29:19mind-blowing to me.
00:29:20And I'm like,
00:29:21just so ready
00:29:22to see how the world
00:29:23reacts to that character
00:29:25as well.
00:29:26Yeah,
00:29:27I don't mean to rank them,
00:29:28but I'm already,
00:29:29if I have favorite
00:29:30Pea Valley character
00:29:31right now,
00:29:31it's Uncle Clifford,
00:29:32it's Mercedes,
00:29:34and then it's Autumn.
00:29:35But I think it's only
00:29:36because we're just,
00:29:38I mean,
00:29:38I've only gotten
00:29:38to two episodes,
00:29:39so we're only just
00:29:40starting to see
00:29:41what Autumn's,
00:29:43what her real story
00:29:44of what she's hiding.
00:29:45But no,
00:29:46Uncle Clifford
00:29:46has me in,
00:29:47because also the other thing
00:29:48is he's a business owner.
00:29:50Absolutely.
00:29:50He's a business owner
00:29:51who is providing
00:29:52a service,
00:29:53which he loves
00:29:54to tell people.
00:29:56And,
00:29:56but I,
00:29:58but I do,
00:29:58but I,
00:29:59but I also love
00:30:00his interactions
00:30:00with people,
00:30:01at least what I've seen
00:30:02so far.
00:30:02No one questioned,
00:30:03like you said,
00:30:04non-binary.
00:30:04No one's questioning him.
00:30:06Absolutely.
00:30:07You know?
00:30:07Yeah,
00:30:08like Uncle Clifford
00:30:09like embraces
00:30:10the pronoun she,
00:30:12but yet,
00:30:12you know,
00:30:13will always use
00:30:14her male privilege
00:30:16because,
00:30:16you know,
00:30:17in the moment,
00:30:17like Uncle Clifford,
00:30:18that name ain't gonna change
00:30:20for Uncle Clifford.
00:30:21Nope.
00:30:21Just gonna be
00:30:22who they are.
00:30:24And,
00:30:25yeah,
00:30:25I just,
00:30:26I cannot wait
00:30:27until audiences
00:30:29meet,
00:30:29you know,
00:30:30Uncle Clifford.
00:30:31And then,
00:30:31you know,
00:30:31just get to know
00:30:32all of the characters
00:30:33over the course
00:30:34of these,
00:30:35these eight episodes
00:30:36this first season.
00:30:37You just gave me a thought.
00:30:38I think I'm gonna be
00:30:38Uncle Clifford
00:30:39for Halloween
00:30:39if we can go back outside.
00:30:44I'm like,
00:30:45are we going outside?
00:30:46October 31st,
00:30:482020?
00:30:49I'm,
00:30:50I don't know.
00:30:53It's crazy.
00:30:54One more thing
00:30:54I want to talk about
00:30:55before we,
00:30:56before we go,
00:30:57because you are putting
00:30:57an array of beautiful
00:30:59Black women,
00:31:00Black stories,
00:31:01Black roles
00:31:02and characters,
00:31:03new characters
00:31:03for us to see on screen.
00:31:04But behind the scenes,
00:31:06you did something
00:31:07also incredible.
00:31:08There's a number
00:31:08of Black women
00:31:09behind the scenes.
00:31:10Can you talk about that?
00:31:11I mean,
00:31:11starting with yourself,
00:31:13you are an award-winning
00:31:14playwright.
00:31:15And the,
00:31:15yeah,
00:31:15I'm an award-winning
00:31:16playwright
00:31:17and I'm a first-time
00:31:18showrunner.
00:31:19And I just,
00:31:20I wasn't ready
00:31:21for being a showrunner
00:31:22because there ain't
00:31:23no,
00:31:23no school to go to.
00:31:25There ain't no book
00:31:26to read about it.
00:31:27Um,
00:31:27but the fact that
00:31:29I got the opportunity
00:31:30to do it now,
00:31:32I just feel like
00:31:32I can,
00:31:33I can do anything.
00:31:34Like I,
00:31:34I myself feel like
00:31:36a super shero now.
00:31:37Um,
00:31:38but you know,
00:31:38the Black women
00:31:39that are on my team
00:31:41are incredible
00:31:42from,
00:31:42you know,
00:31:43my line producer,
00:31:45uh,
00:31:45uh,
00:31:46Montez Monroe
00:31:46to my,
00:31:48um,
00:31:48one of my co-e-pees,
00:31:49Kalia Neal,
00:31:50um,
00:31:51Rita,
00:31:51who does costumes,
00:31:53Jamaica,
00:31:54who did the choreography.
00:31:55We got makeup
00:31:57by Stevie.
00:31:58We got,
00:31:59um,
00:31:59hair by,
00:32:00by Pam.
00:32:01It's just,
00:32:01it's crazy.
00:32:02Even locations
00:32:03is run by a Black woman.
00:32:05We got,
00:32:06we,
00:32:06we served,
00:32:07we showed up
00:32:08and we showed out,
00:32:09uh,
00:32:09on the,
00:32:10on the Pea Valley set.
00:32:11Like,
00:32:11and I'm,
00:32:11I'm really happy,
00:32:12uh,
00:32:13about that
00:32:14to have been,
00:32:14you know,
00:32:15blessed and,
00:32:16and,
00:32:16and just to be able
00:32:17to use this platform
00:32:19to give other people jobs
00:32:21because that's the thing.
00:32:22A lot of people
00:32:23haven't had access.
00:32:25They're not given opportunities
00:32:26and,
00:32:27you know,
00:32:27times are changing
00:32:28and it's time for us
00:32:30to,
00:32:30to step up
00:32:31into our power
00:32:32and so,
00:32:33uh,
00:32:33I was so thankful
00:32:34that I was surrounded
00:32:35by,
00:32:36uh,
00:32:36a wonderful sisterhood.
00:32:38I agree.
00:32:39Now,
00:32:40before you go,
00:32:41let me ask you,
00:32:41who was your favorite
00:32:42character to write?
00:32:44If you had to pick one,
00:32:45you can just tell us.
00:32:46You can just tell us.
00:32:47Now,
00:32:47you know it's Uncle Clifford
00:32:49and let me tell you why though.
00:32:51Uncle Clifford
00:32:52is like
00:32:53a mixture of my mama,
00:32:55my daddy,
00:32:55and my Uncle Clifford,
00:32:57right?
00:32:57Oh,
00:32:58okay.
00:32:58I love,
00:32:59something that I love
00:33:00to do is to give
00:33:02a living ancestor
00:33:03of mine,
00:33:04um,
00:33:05to give their name
00:33:06over to a character,
00:33:07um,
00:33:08that I've created.
00:33:09It's a way to kind of,
00:33:10you know,
00:33:10honor them
00:33:11and to,
00:33:12to make them,
00:33:13um,
00:33:14almost like a historical figure,
00:33:16you know,
00:33:16through fiction.
00:33:17And so,
00:33:18Uncle Clifford,
00:33:19the,
00:33:19the sass
00:33:20and also just
00:33:21the truth telling,
00:33:22I think is,
00:33:24is a beautiful mixture,
00:33:26so unique.
00:33:27And I think people
00:33:28are going to be
00:33:30memeing Uncle Clifford
00:33:31to them.
00:33:32Oh,
00:33:32definitely.
00:33:33I'm going to start it.
00:33:34I'm going to start it.
00:33:35Katori,
00:33:36thank you so much.
00:33:37It's been such a wonderful time
00:33:38speaking with you
00:33:39about P-Valley.
00:33:40Thank you,
00:33:41Kori.
00:33:41Always a pleasure.
00:33:43Take care.
00:33:43You too.
00:33:47My club
00:33:50got everything
00:33:51that a man need.
00:33:53What's your name?
00:33:54Autumn Night.
00:33:56I need you
00:33:58to break a hand.
00:33:59If it's one thing
00:34:00I know how to sell,
00:34:02it's an experience.
00:34:05Life is just
00:34:06a long day's journey
00:34:07into tomorrow.
00:34:08Call the autumn.
00:34:11It's just going to make it
00:34:12through the long,
00:34:13dark nights.
00:34:17There are not enough
00:34:20women directors
00:34:21and there are not enough
00:34:22women directors
00:34:22who are women of color.
00:34:24One of the biggest things
00:34:25that play many women of color
00:34:27is finding a way
00:34:28to believe in yourself.
00:34:30As a woman of color on set,
00:34:31I feel like I didn't
00:34:32have a voice.
00:34:33We want to give people
00:34:34opportunities
00:34:35to create careers
00:34:36and be able to tell
00:34:37a unique story.
00:34:38We want to make this
00:34:39playing field
00:34:40a little more even.
00:34:41At B&G,
00:34:42we feel an obligation
00:34:43to be able to use
00:34:43the powers we have
00:34:44to get equality
00:34:45behind the camera
00:34:47that will eliminate bias.
00:34:51My film follows
00:34:52representative...
00:34:53...senior entertainment editor
00:35:01and I have a real treat
00:35:03for creatives,
00:35:04for filmmakers,
00:35:05documentarians,
00:35:06or just point to anybody
00:35:07who loves to see
00:35:08black women's stories
00:35:09on screen.
00:35:11What is it like
00:35:12to be a creative
00:35:13during these times?
00:35:14It's very trying times.
00:35:17And I have complete royalty
00:35:19in the building.
00:35:21She definitely needs
00:35:23no introduction,
00:35:24but I'm going to be professional
00:35:25and introduce her anyway.
00:35:27So we have...
00:35:29She's a critically acclaimed
00:35:30and award-winning musician,
00:35:32actor, label president,
00:35:34author, and entrepreneur.
00:35:37And I just have to say
00:35:38a point of personal privilege.
00:35:40Her character on
00:35:41Living Single,
00:35:42Khadijah James,
00:35:42was one of the reasons
00:35:44why I wanted to be
00:35:45a journalist
00:35:46and a woman boss
00:35:47in journalism.
00:35:48So shout out
00:35:49to Living Single.
00:35:50That's not in the notes.
00:35:51I just had to say that.
00:35:52She's the first hip-hop artist
00:35:54to be crowned
00:35:54with a star
00:35:55on the Hollywood Walk of Fame.
00:35:57Queen Latifah,
00:35:58if you haven't figured out
00:35:59who I'm talking about,
00:36:00has had immeasurable success
00:36:02in music and acting.
00:36:03She's got a Grammy,
00:36:05Emmy, Golden Globe Awards
00:36:06for her work
00:36:07and is Oscar-nominated
00:36:08for her role in Chicago.
00:36:09Hey, Queen!
00:36:11I'm exhausted
00:36:11after that introduction.
00:36:15You've done it all.
00:36:16No, girl,
00:36:17she was Khadijah.
00:36:17Y'all, Queen, boom.
00:36:19You know what I mean?
00:36:20Because now,
00:36:20I feel like,
00:36:21Dad, I've been working hard,
00:36:23huh?
00:36:23All of that.
00:36:24Yes, we appreciate it.
00:36:27Yes, we appreciate your work.
00:36:29It's nice to see you.
00:36:30Just how are you
00:36:31during these times
00:36:32before we get started?
00:36:34Um, I'm good.
00:36:35I'm good.
00:36:36I'm doing much better
00:36:37than others, you know?
00:36:38I'm alive.
00:36:39And so, uh,
00:36:41I have breath in my lungs.
00:36:42And so, I'm doing much better
00:36:44than some during this time.
00:36:46And so, I kind of,
00:36:47you know, whenever I start
00:36:48to get blue about
00:36:49how crazy things are
00:36:51or how, um,
00:36:53tough things are,
00:36:54I just have to remember
00:36:55I'm blessed.
00:36:56You know what I mean?
00:36:57And I get very grateful
00:36:58and I'm grateful
00:36:58for the help of my family
00:37:00and the fact that
00:37:01I have a roof over my head
00:37:02and food on the,
00:37:03you know,
00:37:04on the stove
00:37:05and in the fridge.
00:37:06And I just get thankful
00:37:08for basic things.
00:37:09You know what I mean?
00:37:09And just how I can,
00:37:11you know,
00:37:11be a help to my family
00:37:13and friends
00:37:14and others, of course.
00:37:15You know,
00:37:15so it's just,
00:37:16you know,
00:37:17I just have to meditate
00:37:19in the morning
00:37:19because my dreams are crazy
00:37:21and, um,
00:37:23my, you know,
00:37:24your brain is processing
00:37:25so much through this time.
00:37:26Yeah.
00:37:27So, I just kind of have
00:37:28to take a pause
00:37:28in the morning
00:37:29when I wake up
00:37:30and breathe
00:37:30for a few moments
00:37:31and just clear
00:37:33and just settle myself
00:37:34and then we go hard again.
00:37:36Yeah.
00:37:37We go hard to jump into the day.
00:37:39Yeah.
00:37:39And you have definitely
00:37:40not stopped working.
00:37:42Uh, we'll be talking
00:37:42about your Queen Collective,
00:37:44how you are mentoring
00:37:45and ushering in
00:37:47amazing filmmakers
00:37:48and films that we need to see.
00:37:50And so I'm going to introduce,
00:37:51uh, the filmmakers
00:37:52that you've chosen
00:37:53for this year's, uh, selection.
00:37:55Samantha Knowles
00:37:56is a Brooklyn-based filmmaker.
00:37:58Her New York Times documentary,
00:38:00The Blue Line,
00:38:00premiered at Tri-Betha in 2018.
00:38:02And she is one of
00:38:05Queen Collective's 2020 selection.
00:38:06She's the director
00:38:07of Tangled Roots.
00:38:08Welcome, Samantha.
00:38:10Thank you so much.
00:38:12I'm so excited.
00:38:13Yes.
00:38:13And you look great.
00:38:14I love this pop of color
00:38:15on the lip.
00:38:16That's my kind of,
00:38:17my kind of zhuzh.
00:38:20Um, and two filmmakers
00:38:21who were both co-directed
00:38:23Gloves Off,
00:38:24which is the second selection,
00:38:26Nadine Natur
00:38:27and Yugana Opaloka.
00:38:29Uh, hi, ladies.
00:38:30Hi.
00:38:31Hi.
00:38:33Nadine was the associate producer
00:38:35of the Oscar-nominated
00:38:36Emmy-winning RBG,
00:38:38while Yugana is an Emmy-nominated
00:38:39TV producer
00:38:40who has directed,
00:38:42written, and produced features
00:38:43from all over the world.
00:38:44So welcome, all of you.
00:38:47Um, I want to start
00:38:48with Queen first.
00:38:49Why did you start
00:38:50the Queen Collective,
00:38:51for those who may not know?
00:38:53And why were these two films,
00:38:54Gloves Off
00:38:55and Tangled Roots,
00:38:56just sort of emblematic
00:38:57of the stories
00:38:57that you thought
00:38:58needed to be shared?
00:39:00Well, as you just introduced
00:39:02both of these,
00:39:03or three of these
00:39:04amazing, uh, director,
00:39:06producers,
00:39:07um, they're already
00:39:08critically acclaimed.
00:39:09They've already been
00:39:09putting in work.
00:39:10They should be directing
00:39:11their films.
00:39:13They should have an opportunity
00:39:14to direct whatever it is
00:39:15that they have creatively
00:39:17conceived and, um,
00:39:19should be able to execute
00:39:20that, uh, with full support.
00:39:22And, um, unfortunately,
00:39:24it is not the case
00:39:26for many directors,
00:39:29female directors.
00:39:29And so I shouldn't even
00:39:31have to start this initiative,
00:39:32but it's a bunch of stuff
00:39:33we shouldn't have to do
00:39:34at this point.
00:39:35Um, what we did see
00:39:37was that there was
00:39:37a major disparity
00:39:39in the amount of women
00:39:40who are behind
00:39:41the camera's lens.
00:39:43And, uh, Mark Pritchard,
00:39:45who is the head
00:39:45of brand management
00:39:46for, and branding content
00:39:48for Procter & Gamble,
00:39:50did a panel together.
00:39:51And it was a women's,
00:39:53women's summit in New York.
00:39:54And we both said afterwards
00:39:55that we have to do something
00:39:56to change, um,
00:39:59that disparity.
00:40:00You know, less than 10%
00:40:01of all commercials
00:40:02and movies are directed
00:40:03by women.
00:40:03And so here he is
00:40:05controlling billions
00:40:06of dollars of advertising dollars.
00:40:08And he wants to put women
00:40:10behind the camera
00:40:11because they want to see
00:40:13a more accurate portrayal.
00:40:15If nothing else,
00:40:16they want to see
00:40:17a more accurate portrayal
00:40:18of women and girls
00:40:21in front of the camera,
00:40:23in the media that you see.
00:40:25And so, um,
00:40:26one of the best ways
00:40:28to do that
00:40:28is to put women
00:40:29behind the lens
00:40:30and give them the power
00:40:31to create.
00:40:32And we decided
00:40:33to start with directors
00:40:34because not only
00:40:36would, um,
00:40:38we be able
00:40:38to see more
00:40:39of an accurate portrayal,
00:40:40but we find
00:40:42that directors,
00:40:43women directors,
00:40:44will hire
00:40:44a much more diverse crew.
00:40:47So we're kind of,
00:40:48you know,
00:40:48hit the words
00:40:49of one stone
00:40:50by being able
00:40:51to do that.
00:40:51And it's been the case
00:40:52that, you know,
00:40:53the women that you have today
00:40:55have been able
00:40:55to hire very diverse crews
00:40:57and execute their films
00:40:58in that way
00:40:59and hopefully
00:41:00give people another shot
00:41:01in each department
00:41:02to move forward
00:41:03in advance.
00:41:03And, you know,
00:41:04that's the whole idea,
00:41:06you know,
00:41:06just letting it spread.
00:41:07I love that.
00:41:08Before we learn more
00:41:09about these filmmakers' work,
00:41:11why don't we check out
00:41:12a trailer to learn,
00:41:13to see just what
00:41:14they've been up to.
00:41:14of course we can see
00:41:38why these films were chosen
00:41:39and why these stories
00:41:40needed to be told.
00:41:42Samantha,
00:41:42I want to start
00:41:43with Tangled Roots
00:41:44because this story
00:41:46was birthed
00:41:47out of a personal
00:41:48sort of struggle
00:41:50with your own hair.
00:41:51Can you tell us
00:41:52about Tangled Roots
00:41:52and why you wanted
00:41:53to tell this particular story?
00:41:56Yeah.
00:41:57So Tangled Roots
00:41:58was really inspired
00:42:00by an experience
00:42:02I had in high school
00:42:03where I was reading
00:42:03my high school handbook
00:42:06and I realized
00:42:07that they discriminated
00:42:09against black hair.
00:42:11They had a rule
00:42:11that male students
00:42:12couldn't have cornrows
00:42:13or dreadlocks.
00:42:16And even though
00:42:16I wasn't a male student
00:42:18and I had braids,
00:42:19so the rule didn't
00:42:21directly affect me,
00:42:21it still felt discriminatory.
00:42:24It still felt like
00:42:25it affected me.
00:42:27And I was really upset
00:42:29by it.
00:42:29And I didn't really
00:42:30have the language
00:42:31to articulate
00:42:32why it upset me
00:42:34so much at the time.
00:42:35but it really stayed with me.
00:42:41And then fast forward,
00:42:43you know,
00:42:4310, 15 years later,
00:42:45the Queen Collective
00:42:46put out this,
00:42:47you know,
00:42:48kind of like
00:42:49ask for films
00:42:50and it felt like
00:42:51hair discrimination
00:42:52was something
00:42:53that I could really
00:42:54tackle in a film.
00:42:56And I found
00:42:58my main character,
00:42:59Attica Scott,
00:43:00and she was this woman
00:43:01who was working
00:43:02in Kentucky
00:43:03as its only Black
00:43:05woman state legislator
00:43:06to pass a bill
00:43:09that would like
00:43:09ban that type
00:43:10of hair discrimination
00:43:11statewide.
00:43:13And I was so inspired
00:43:15by her
00:43:15and I just knew
00:43:16that I wanted
00:43:16to follow her
00:43:18whole journey.
00:43:21So yeah,
00:43:22so that's how
00:43:22I kind of stumbled
00:43:23across the topic
00:43:24and the characters.
00:43:26I love that
00:43:27because it's so important
00:43:28for Black women
00:43:29and to be able
00:43:29to express ourselves
00:43:31authentically
00:43:32in every single space.
00:43:34So that's wonderful.
00:43:35Nadine in Uganda,
00:43:37Gloves Off
00:43:37centers on this
00:43:38D.C. police officer.
00:43:40I'm from the DMV,
00:43:41so I was hyped already.
00:43:43Tell us about Gloves Off
00:43:45and why you chose
00:43:46this particular
00:43:47police officer to follow
00:43:48because she does
00:43:49so much more
00:43:50than policing.
00:43:53Yeah,
00:43:53we knew,
00:43:54we just knew
00:43:55that when we got
00:43:55this opportunity
00:43:56that we didn't have
00:43:57a story in mind yet,
00:43:58but we knew
00:43:59that no matter
00:44:00what story we told,
00:44:00we wanted it
00:44:01to center around
00:44:02a really strong,
00:44:04inspiring woman
00:44:05and just to extend
00:44:07the purpose
00:44:08of the Queens Collective
00:44:09as Queens said,
00:44:10not only for people
00:44:11behind the camera
00:44:12but people in front
00:44:13of the camera
00:44:13as well too.
00:44:14So when we came
00:44:14across Tierra's story
00:44:15and we found out
00:44:17she was the first
00:44:17African-American woman
00:44:19to be awarded
00:44:20Officer of the Year
00:44:21because she's creating
00:44:23all these new ways
00:44:24to do community policing,
00:44:25that was incredible
00:44:26and then we found out
00:44:27by night
00:44:28she's also
00:44:28an undefeated
00:44:29boxing champion
00:44:30so we were like,
00:44:30okay,
00:44:31we don't know
00:44:32where this story
00:44:33is going to go yet
00:44:33but we think
00:44:34it's worth a phone call
00:44:35and once we talked
00:44:36to her and got
00:44:37to meet her
00:44:37and became friendly
00:44:38with her,
00:44:39we knew that
00:44:40there was something
00:44:41there to be told.
00:44:43Yeah,
00:44:43I want to talk,
00:44:44Nadine,
00:44:45this question is for you,
00:44:46you know,
00:44:46this is an interesting
00:44:48moment in history,
00:44:51in American history,
00:44:52in Black history,
00:44:53we're all going
00:44:55through something
00:44:56very unique.
00:44:57First,
00:44:58there was COVID
00:44:58that had us all anxious
00:44:59and in the house
00:45:00and then another pandemic
00:45:02that we've been dealing
00:45:03with for generations,
00:45:05racism and racial inequity
00:45:07has really come to a head.
00:45:09I wonder,
00:45:10like,
00:45:10in this time
00:45:11of peak activism,
00:45:13has it changed
00:45:14the way
00:45:14that you're approaching art?
00:45:16You know,
00:45:17even with shows
00:45:18like Cops
00:45:19and other cop shows
00:45:20being taken off air,
00:45:22will it change
00:45:23how you,
00:45:24you know,
00:45:24think about the people
00:45:25that you are following
00:45:26in the future
00:45:27or choose to document
00:45:28in the future?
00:45:31I'm really excited
00:45:32about this moment
00:45:33and the moment
00:45:34of activism
00:45:35that we're all
00:45:36currently a part of.
00:45:37It just feels like
00:45:38people,
00:45:39brilliant thinkers
00:45:40have been discussing
00:45:41some of the theories
00:45:42that we're hearing now
00:45:44for decades,
00:45:45but all of a sudden
00:45:46we're actually engaging
00:45:47with them as a country.
00:45:49So before,
00:45:51that really wasn't
00:45:52on the table.
00:45:53So I'm very excited
00:45:54about all of the activism.
00:45:56I'm excited
00:45:56about the movement.
00:45:58I just think
00:45:58that this is actually
00:46:00giving us
00:46:02a different future
00:46:03to envision.
00:46:05You know,
00:46:05the status quo,
00:46:06as you mentioned,
00:46:07it's just been one
00:46:09that has been
00:46:10wracked
00:46:11by a history of racism.
00:46:12So now,
00:46:13all of a sudden,
00:46:14as a country,
00:46:14we're engaging with
00:46:15where can we go
00:46:16next?
00:46:16How do we change
00:46:17the status quo?
00:46:18And that's definitely
00:46:19where art comes
00:46:21into play.
00:46:21When you see
00:46:22different representations
00:46:23of police
00:46:26or the future
00:46:27of police
00:46:27on television,
00:46:29then you can
00:46:30wrap your head
00:46:31around what
00:46:32could be different.
00:46:33How can we make
00:46:33things different?
00:46:34And I definitely
00:46:36plan to engage
00:46:38that way
00:46:39with future projects.
00:46:41Yeah.
00:46:41And Queen,
00:46:42how about for you,
00:46:42for even your own
00:46:43personal projects?
00:46:44Are you thinking
00:46:44about it differently
00:46:46now that there's
00:46:48so much protest
00:46:49and so much
00:46:50people that people
00:46:51just want to say?
00:46:55I can't say
00:46:56I'm 100%
00:46:57thinking about
00:46:58things differently
00:46:59because I've
00:47:01always thought
00:47:01like this.
00:47:02You know,
00:47:02and when I say
00:47:04I,
00:47:05it's me,
00:47:05my partner,
00:47:06Shaquem,
00:47:06Flavion,
00:47:06and my mom,
00:47:07we've always
00:47:08thought with
00:47:10the intention
00:47:12in mind
00:47:14to make sure
00:47:15that we
00:47:15gave people
00:47:16opportunities
00:47:17who would not
00:47:17get them
00:47:18if we didn't do it.
00:47:19And that was
00:47:20just from day one.
00:47:21And maybe it's
00:47:22because I'm from
00:47:22a hip-hop generation.
00:47:24My mother loved
00:47:24hip-hop as well
00:47:25and she was a
00:47:26high school
00:47:26art teacher
00:47:28who was that
00:47:29cool teacher
00:47:29that you would
00:47:30go to if you
00:47:31had a problem
00:47:31or you go to
00:47:32if it was going
00:47:33wrong in your household
00:47:34or, you know,
00:47:35so I have like
00:47:36a lot of extended
00:47:37family just from
00:47:38my mother being
00:47:38a safe haven
00:47:40for so many
00:47:42hundreds and
00:47:42hundreds of students.
00:47:44But she also
00:47:45sneakily
00:47:46showed them
00:47:48how to become
00:47:49activists
00:47:49by expressing
00:47:51themselves
00:47:51and maybe it
00:47:52was a sit-in
00:47:52in school.
00:47:53If there was
00:47:53no heat
00:47:54in the school,
00:47:55you know,
00:47:56she maybe
00:47:56quietly told them,
00:47:57well,
00:47:58one should not
00:47:59have to tolerate
00:48:00not having heat
00:48:01in the school
00:48:01but perhaps
00:48:03one should sit
00:48:04in one's auditorium
00:48:05and not attend
00:48:06class.
00:48:06You know what I mean?
00:48:07But she would
00:48:08kind of like,
00:48:09you know,
00:48:09let them know
00:48:10that they had
00:48:11power and they
00:48:12needed to use
00:48:13their power
00:48:13and they needed
00:48:14to use their
00:48:14voice.
00:48:15So rather than
00:48:15just walking
00:48:16out of school
00:48:16and saying,
00:48:17forget this,
00:48:19joining together
00:48:20to create more
00:48:21of a movement,
00:48:21to be of one
00:48:22voice.
00:48:23Yeah, for sure.
00:48:24And I can't
00:48:25believe we're running,
00:48:25we have literally
00:48:26ran out of time.
00:48:27So Nadine,
00:48:28before they kill
00:48:29me, really quick,
00:48:30just one quick
00:48:31one about
00:48:32before they kill
00:48:34me,
00:48:34before they cut
00:48:34us off.
00:48:35Okay,
00:48:35my film is about
00:48:37my Palestinian
00:48:38Muslim family
00:48:39running a grocery
00:48:40store in the
00:48:40rural South
00:48:41and I talked
00:48:42to our customers
00:48:43after the 2016
00:48:44election about
00:48:45Islamophobic
00:48:46political rhetoric
00:48:47and how they
00:48:47reconcile it
00:48:48with visiting
00:48:48our store.
00:48:50Oh, wow.
00:48:50Look at that elevator
00:48:51change.
00:48:52I love it.
00:48:53It's cooking
00:48:54dirty.
00:48:54And then Queen,
00:48:55how can people
00:48:56see these films
00:48:57support Queen
00:48:58Collective?
00:48:59All these films
00:49:00are streaming
00:49:01on BET.com
00:49:02so you can
00:49:03stream them
00:49:04now.
00:49:04Everything is
00:49:05available and
00:49:06yeah, check them
00:49:07out.
00:49:07They're going to
00:49:08be amazing.
00:49:09Yes, check them
00:49:09out and thank you
00:49:10so much for
00:49:11joining us at
00:49:11the Essence
00:49:12Festival of
00:49:13Culture,
00:49:14Entertainment,
00:49:15All Access.
00:49:16I'm Joy
00:49:16Marie McKenzie.
00:49:17See you guys.
00:49:24My film follows
00:49:26Representative
00:49:26Attica Scott
00:49:27as she files a
00:49:28bill to battle
00:49:29black hair
00:49:29discrimination.
00:49:31Hair is political
00:49:32because society
00:49:33has deemed
00:49:34that it's political.
00:49:35She's defining
00:49:36and rewriting
00:49:37the rules.
00:49:40Our film follows
00:49:41Tiara Brown,
00:49:42police officer
00:49:43by day,
00:49:44a boxer
00:49:44by night.
00:49:45People in my
00:49:45life have told
00:49:46me I couldn't
00:49:47do things.
00:49:47I find her
00:49:48inspiring.
00:49:49She's succeeding
00:49:50in spaces that
00:49:51were set up
00:49:51for her to
00:49:52succeed.
00:49:53She's fearless
00:49:53to face
00:49:54anything.
00:50:16Hamilton, rated PG-13
00:50:24streaming July 3rd
00:50:25on Disney+.
00:50:26My sisters,
00:50:32my brothers,
00:50:34my siblings all,
00:50:36warm and hearty
00:50:37greetings to each
00:50:38of you.
00:50:40I'm Dr.
00:50:41Johnetta Betch-Cole.
00:50:42It's quite an
00:50:43It's quite an honor
00:50:44and a joy
00:50:45for me to participate
00:50:47in this virtual
00:50:49festival of our culture.
00:50:52I want to extend
00:50:53a huge thank you
00:50:55to the Essence family
00:50:57for this opportunity
00:50:58for me to share
00:51:01a little bit
00:51:02about something
00:51:03that is very near
00:51:05and dear to my heart.
00:51:08So, Disney and Pixar's
00:51:10upcoming animation
00:51:12feature film.
00:51:13Like everyone who loves
00:51:15incredible storytelling,
00:51:18terrific art,
00:51:20and bustling creativity,
00:51:23I'm a big fan
00:51:26of Pixar films.
00:51:28So imagine my excitement
00:51:31when I was invited
00:51:33to speak at Pixar's
00:51:35Inclusion Summit.
00:51:37That was a couple
00:51:38of years ago.
00:51:40But I still remember
00:51:42being genuinely impressed
00:51:45by the stated commitment
00:51:48of Pixar colleagues
00:51:50to stay on their journey
00:51:52toward a more diverse
00:51:54and inclusive culture.
00:51:56I can testify
00:51:58that the colleagues
00:52:00at that studio
00:52:02own their responsibility
00:52:04to make sure
00:52:06that their films
00:52:08tell the stories
00:52:09of all of us.
00:52:10We're the diverse people
00:52:12and cultures
00:52:13of our country
00:52:14and our world.
00:52:16It's been an experience
00:52:17of sharing my knowledge
00:52:19as an anthropologist,
00:52:22sharing my understanding
00:52:23of those things
00:52:26that we as African Americans
00:52:29hold in common
00:52:31and those things
00:52:32that are very specific
00:52:33to particular groups
00:52:35of us.
00:52:37I've been able
00:52:38to share my experience
00:52:40as a devoted lover
00:52:43of Black improvisational music
00:52:48called jazz.
00:52:51Soul is the first Pixar film
00:52:54that highlights our community
00:52:57And as we know so well,
00:52:59my sisters
00:53:00and my brothers all,
00:53:02representation matters.
00:53:06That is,
00:53:08when it's thoughtful
00:53:09and respectful.
00:53:12So I'm beyond excited
00:53:14and proud
00:53:15to share this sneak peek
00:53:19into Brother Joe Gardner's story.
00:53:25Yes!
00:53:26Woo-hoo!
00:53:27It really is our story.
00:53:30And in an amazing way,
00:53:33it is a story
00:53:34that belongs
00:53:36to everyone.
00:53:39Hi, everyone.
00:53:40Thanks so much
00:53:40for having us today.
00:53:42We're really excited
00:53:43to tell you a little bit
00:53:44about Soul,
00:53:45which comes out in theaters
00:53:46November 20th.
00:53:48And we've been working
00:53:48on this film
00:53:49for a little over four years
00:53:50and it's just been
00:53:51quite a journey
00:53:52of discovery
00:53:52and learning
00:53:53about jazz music,
00:53:54about Black culture,
00:53:56and about ourselves.
00:53:58Like all our movies,
00:53:59it started
00:53:59with a simple idea.
00:54:01Yeah, it was 2015.
00:54:02I had just finished
00:54:03directing Inside Out,
00:54:05which was,
00:54:05by almost any definition,
00:54:07a really successful film.
00:54:08It connected with people.
00:54:10We won an Oscar.
00:54:11It did great
00:54:12at the box office,
00:54:12but when the high wore off,
00:54:14I found myself wondering.
00:54:15I just felt incomplete.
00:54:18I felt like
00:54:18I've worked my whole life
00:54:20to make animated films,
00:54:22yet I found myself wondering,
00:54:24is this really
00:54:24what I'm born to do?
00:54:27I thought about my son.
00:54:29I took this picture
00:54:29just moments
00:54:30after he was born
00:54:31and I swear
00:54:32the moment he arrived,
00:54:33we could already
00:54:33see him in there.
00:54:35And I was thinking,
00:54:36how did that happen?
00:54:38Where did that come from?
00:54:39Well, it's because
00:54:39each of us
00:54:40is born with a soul.
00:54:42Our soul is really
00:54:43the center of who we are.
00:54:45It's the essence of us.
00:54:47It is our makeup
00:54:48of what passions
00:54:50and inspirations we have.
00:54:52We wanted our main character
00:54:53in the film
00:54:54to have those passions
00:54:56born into him as well.
00:54:58We wanted something
00:54:58we could all relate to
00:54:59and root for,
00:55:00like an animator.
00:55:01All right,
00:55:02maybe not everybody
00:55:02can relate to that.
00:55:03Maybe it's a scientist,
00:55:05a doctor.
00:55:06We hit on musician.
00:55:07We thought,
00:55:08that's going to be fun
00:55:09to see on screen.
00:55:10Jazz was really
00:55:10the perfect representation
00:55:11of what we were trying
00:55:12to say in the film.
00:55:14And if our main character
00:55:15plays jazz,
00:55:16or as Dr. Cole calls,
00:55:17black improvisational music,
00:55:18we felt our main character
00:55:20needed to be black.
00:55:21We were lucky
00:55:22to find Camp Powers,
00:55:24acclaimed screenwriter
00:55:25and playwright.
00:55:26Thanks, Pete.
00:55:27When I came onto the film
00:55:28a few years ago,
00:55:29as Pete mentioned,
00:55:30everything hadn't
00:55:31been worked out yet.
00:55:32Obviously,
00:55:33the film hadn't been cast.
00:55:34We were still
00:55:34working out the story.
00:55:36So immediately,
00:55:37I wanted to try
00:55:37to come on board
00:55:38and try to help
00:55:40flesh out the characters,
00:55:41particularly Joe Gardner,
00:55:42our main character.
00:55:43I realized in many ways,
00:55:45Joe was just like me.
00:55:46I used a lot
00:55:46of my own personal experiences
00:55:48to inform me
00:55:49as I was writing
00:55:49the character.
00:55:50Joe Gardner is 45,
00:55:5246 years old.
00:55:53What a coincidence.
00:55:53That's the same age I am.
00:55:55Joe's born and raised
00:55:56in New York City,
00:55:57just like me.
00:55:57But as specific
00:55:58as Joe's story was to me,
00:56:00it had to transcend
00:56:01my own experience.
00:56:02Because while people
00:56:03who are from my background,
00:56:05ethnically,
00:56:05and from my city
00:56:06might recognize
00:56:08a lot of the elements
00:56:09of Joe's life
00:56:10and my life,
00:56:11I don't represent
00:56:12every single
00:56:13black man's experience.
00:56:14And for the process
00:56:16of making Soul,
00:56:17it was really important
00:56:18that we invited
00:56:19a lot of other
00:56:20black voices
00:56:21into the fold
00:56:22in the creation
00:56:23of not just Joe,
00:56:24but all the characters
00:56:25in the film.
00:56:25So we partnered
00:56:26with a number
00:56:26of consultants
00:56:27on the film
00:56:28who we kept
00:56:28really close
00:56:29throughout the entire process.
00:56:31First, we turned
00:56:32to a group
00:56:32of African-American
00:56:33Pixar employees
00:56:34who became
00:56:34our internal culture trust.
00:56:36And they helped
00:56:37guide us along the way
00:56:38to make the film
00:56:38culturally authentic
00:56:39and truthful.
00:56:41We also turned
00:56:41to all kinds
00:56:42of different
00:56:43black craftspeople
00:56:44from Rapper Young,
00:56:45the incredible filmmakers
00:56:47to wonderful musicians
00:56:48like Herbie Hancock,
00:56:49Terry Lynn Carrington,
00:56:51John Batiste,
00:56:52and even Questlove
00:56:53and Daveed Diggs,
00:56:54two of the performers
00:56:55in the film
00:56:55who also serve
00:56:56as consultants.
00:56:57This group
00:56:58watched our story reels,
00:57:00gave us story notes.
00:57:01They looked at
00:57:02the character designs
00:57:02and the sets
00:57:03all as they were being built.
00:57:05They even helped us
00:57:05review the animation.
00:57:07It was really important
00:57:08to us that we didn't
00:57:09just invite people
00:57:10in to rubber stamp
00:57:11the work that we were doing.
00:57:12These folks came in
00:57:13to be a huge part
00:57:15of everything we did
00:57:16and go with us
00:57:17on the full journey
00:57:18of creating this film
00:57:19and making it
00:57:20as authentic
00:57:20and truthful as possible.
00:57:21Of course,
00:57:22the film is anchored
00:57:23by our two great leads,
00:57:24Jamie Foxx,
00:57:25who's the voice
00:57:25of Joe Gardner,
00:57:26and Tina Fey,
00:57:27who's the voice of 22.
00:57:28This is one of the most
00:57:29international,
00:57:31diverse cast
00:57:32we've ever seen
00:57:32in a Pixar animated film.
00:57:34Wonderful actresses
00:57:35like the great
00:57:36Felicia Rashad
00:57:37and the amazing
00:57:38Angela Bassett
00:57:39leading this
00:57:40incredible crew
00:57:41of actors and actresses.
00:57:42Music is also central
00:57:43to the film
00:57:44and we've been
00:57:44really lucky
00:57:45to partner
00:57:46with two teams
00:57:46for our score.
00:57:48First,
00:57:48Tred Reznor
00:57:49and Atlas Ross
00:57:49have composed
00:57:50all of the music
00:57:51in the soul world
00:57:52and the amazing
00:57:53John Batiste,
00:57:54who you all know,
00:57:55the pianist
00:57:55from The Colbert Show,
00:57:56composed all the jazz music
00:57:58in New York City.
00:57:59And to tell you
00:57:59more about that,
00:58:00I would like to introduce
00:58:01the amazing musician
00:58:02and equally amazing human,
00:58:04Mr. John Batiste.
00:58:07Yes, indeed.
00:58:08Thank you, Pete.
00:58:09Thank you, Kemp.
00:58:10Thank you, everyone
00:58:11at Pixar.
00:58:12I'm thrilled
00:58:13to be here
00:58:14to share my experience
00:58:15writing music for Soul,
00:58:17which was a great balance
00:58:19going between
00:58:20two different worlds,
00:58:21you know,
00:58:21the great beyond
00:58:22where souls are born
00:58:23and the jazz realm
00:58:26of New York City
00:58:27and the clubs
00:58:28and then the scene
00:58:29in the jazz world
00:58:29where Joe is cutting his teeth
00:58:31and trying to get into
00:58:32the band with Dorothea.
00:58:34And he finally makes it
00:58:35into the band
00:58:36and there's so many
00:58:37great moments of music
00:58:38that happened
00:58:39that my goal
00:58:41was really to create
00:58:42something that felt authentic
00:58:43as if it were
00:58:44a real jazz band
00:58:46while also being
00:58:47accessible to all ages.
00:58:49I wanted to make
00:58:49some themes
00:58:50that tied into
00:58:51the ethereal nature
00:58:52of the other world
00:58:53while still being
00:58:54in the earth realm
00:58:55and vice versa
00:58:56when they would meet
00:58:57Trent and Atticus
00:58:58and I would sometimes
00:58:59even blend
00:58:59the two worlds musically.
00:59:01but there are themes
00:59:02that have this
00:59:02celestial optimism
00:59:04that I really love
00:59:05like this other theme
00:59:06It was a joy.
00:59:21It was a privilege
00:59:21and an honor to do
00:59:22and how about
00:59:24you take a look now.
00:59:26Here's an exclusive clip
00:59:27of Pixar's Soul.
00:59:31Music moves people
00:59:35I'm Joe
00:59:37I teach middle school band
00:59:40Music is life
00:59:43You just need to know
00:59:45where to look
00:59:46Though we are
00:59:48parting ways
00:59:51We shall come around
00:59:54To touch eyes again
00:59:56If love is the foundation
00:59:58If the purpose
01:00:00be to recycle life
01:00:02A promise
01:00:02shall bring us to one
01:00:04Spend your precious hours
01:00:05doing what will bring out
01:00:07the real you
01:00:07Love
01:00:08The brilliant, passionate you
01:00:11Love
01:00:12That's ready to contribute
01:00:14something meaningful
01:00:15into this world
01:00:16Love
01:00:17Love
01:00:18Love
01:00:20Get ready
01:00:21Your life is about to start
01:00:24Oh
01:00:25Oh
01:00:26Yeah
01:00:28Yeah
01:00:30The ten dollar
01:00:40Found a father
01:00:41Without a father
01:00:42To your union
01:00:44To your union
01:00:45And the hope that you provide
01:00:49You provide
01:00:50May you always
01:00:52Always
01:00:53Be satisfied
01:00:55I'm a Santa Hamilton
01:01:00Hamilton
01:01:01Hamilton
01:01:02Rated PG-13
01:01:03Streaming July 3rd
01:01:04On Disney Plus
01:01:05I hope you've enjoyed
01:01:07Getting a sneak peek
01:01:08Of some of the creatives
01:01:09That your favorite
01:01:10Black creatives
01:01:11Have been working on
01:01:12But up next
01:01:13Is something I really love
01:01:14And that's seeing
01:01:15A good artist show
01:01:16So please
01:01:17Stick around
01:01:17For the evening concerts
01:01:18Of the Essence
01:01:19Festival of Culture
01:01:20Presented by Coca-Cola
01:01:22I hope you've enjoyed
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