- 2 days ago
This conversation will feature award-winning costume designers whose work has shaped the visual language of film and theater. Their mastery of cultural storytelling across decades of projects highlight the depth and range of their artistry. As an industry leader, she has navigated Hollywood’s evolving landscape while pushing the boundaries of design, authenticity, and innovation. This conversation will explore her creative process, career-defining moments, and the lasting impact of costume design on storytelling."
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00:00Never before seen.
00:02It has.
00:04We've been gone a long time.
00:06We'll be back now.
00:11You twins?
00:12Nah, we cousins.
00:16There are legends of people with the gift of making music so true.
00:20It can conjure spirits from the past and the future.
00:26This gift can bring fame and fortune.
00:29Will somebody take me in the air?
00:36But it also can appease the veil between life and death.
00:44This isn't here. This is for your house party.
00:50Shit.
00:52Y'all ready to drink. Y'all ready to sweat till y'all stand.
00:56You know what's up?
00:59You keep dancing with the devil.
01:02Careful, boy.
01:04You can bite off more than you can chew.
01:06I love you!
01:08One day he's gonna follow you home.
01:10Because of the problem now.
01:12What the hell goin' on?
01:14Oh, we are a tale of a party.
01:19This world already left you dead.
01:21I have to save you from your fate.
01:23You don't need no saving.
01:25Yes, you do.
01:26And you are?
01:27I am.
01:28I am.
01:29I am.
01:30I am.
01:31Your way out.
01:35Don't be mad.
01:36I think y'all better now.
01:38Yes, I am.
01:39Yes, I am.
01:40You are not a leading man.
01:42Ghosts.
01:43Dealers.
01:48Just power.
01:49Just power.
01:52Somebody please take me.
01:56Take me.
01:58Take me.
02:00Who are we going to get every last one of you?
02:19Hey.
02:21I ain't really scared of you.
02:23Thought I'm afraid about me in here.
02:26Come on, open the door, let them all out here.
02:29Say, this you?
02:31Close to me, open the door.
02:33That ain't your brother.
02:40Love you!
02:42Yes, man.
02:49I think I shot myself.
03:01Yeah, it's about to be good.
03:04It's about to be good.
03:06The trailer is phenomenal.
03:07Up now, we're going to hear about how costume design shapes,
03:11storytelling in film and television.
03:14Here with us today to get into that is from Warner Brothers,
03:18from the upcoming Warner Brothers Pictures film Sinners,
03:21actress Wumi Masaku and Oscar-winning Emmy-nominated
03:25costume designer, Ruth Carter!
03:30Along with Essence Entertainment editor, Oakla Jones.
03:34Come on out.
03:36Give them some love.
03:37Give them some love.
03:39How can I ever get out of here?
03:48Thank you so much for that introduction, Scott.
03:50How you doing, L.A.?
03:51You all excited to see the film Sinners?
03:55Yeah!
03:56So let's get right into it.
04:09So, Ms. Carter, you've had a long career in the industry.
04:13It's spanned over four decades, which is amazing.
04:16Four decades?
04:17Can you just imagine four decades in this industry?
04:20I can't even.
04:21It blows my mind to hear that.
04:24It's a blessing.
04:25You've also had a very successful partnership with the talented Ryan Coogler.
04:29How excited were you about designing Sinners and, again, collaborating with Ryan?
04:33Ryan and I met on the first Black Panther.
04:36I had never done a superhero film, so I was quite nervous and not really understanding why I was asked to come into Marvel Studios to meet on a movie about Black Panther.
04:51But Ryan sat in front of me and he said, I'm really glad you're here.
04:54I studied Spike Lee's film in film school.
04:58And, you know, what you did with Malcolm X was building a world.
05:02So I realized then that I could share something with this filmmaker, that I had something that he wanted, which was world building, the world building of Wakanda.
05:13And, you know, coming back now to do Sinners, like Ryan is a genius.
05:20He has a genius mind.
05:22And he loves the depth of women.
05:25He has women keys in his, around him.
05:29You know, Autumn Duran is our DP and Hannah Buechler is the production designer.
05:34And he knows the complexities of women and he appreciates us.
05:39So it's really beautiful to work with him.
05:42I love your character in the film.
05:50And her intuition plays an important part in the film as well.
05:54And I thought it was perfect because it embodied that intuition and that instinct that Black women inherently possess.
06:01In what ways did you prepare for the role of Annie?
06:04I feel like I had to learn about voodoo.
06:14I had to learn about voodoo.
06:15I had to learn about, like, you know, natural traditional medicines and religions.
06:25I was learning about Ifa, which is the traditional Yoruba religion.
06:30And I'm Yoruba and I had never even really looked into it.
06:35I had heard of Orisha's and everything, but it was something that I was a little bit afraid of.
06:41And then, like, having Annie, like, confront me with, like, the truth, the wisdom.
06:48The wisdom of traditional medicine and traditional people, the groundedness and the elevated spirituality.
06:58And I feel like it just blew my mind open and my heart open.
07:03And, you know, Annie, there was this exchange between her and I.
07:08I feel like I was just learning so much so that I could be a more grounded, more round, more spiritual person.
07:23So, it was interesting.
07:24Her research was, the research for her was, like, research for me and my ancestry.
07:30I have never felt so connected to the motherland.
07:33I have never felt so connected to my ancestry.
07:36And that was because of Annie.
07:38Like, she was just...
07:40I love that answer.
07:46So, that kind of brings me to my next question, Ms. Carter.
07:49Sinners is deeply rooted in spiritual traditions.
07:52In Annie's costumes, it features significant details rooted in hoodoo and southern folklore.
07:58Can you talk about the inspiration behind this choice and how spiritual beliefs influence your overall designs in the film?
08:04Well, one thing, we had the haint blue.
08:06Have you ever heard of that?
08:07Yeah.
08:08From the Geechee Gullah culture of the blue being painted on the doors for protection.
08:14So, blue was her color palette.
08:18Also, you know, I grew up with people who wore religious beads around their neck.
08:24And it wasn't like a jewelry item.
08:27They were actually part of, like, prayers and a lot of protection as well.
08:33And so, we came up with this bead story for Annie.
08:38And that these beads were worn inside.
08:40And I remember these beads.
08:42They were always worn underneath their clothes.
08:45And they were very special.
08:48And so, that's where we brought in the beads for Annie's character, too, so that this protection.
08:54And she also had other ways of things that she had as protections.
09:00She had her belt that she wore.
09:03And in it was that little vial of pickle juice or whatever that was.
09:06Holy water.
09:07Holy water.
09:08She was just like, there you go.
09:10And so, we had to create this belt for her that had these pouches where she carried her things in it that she needed.
09:19And so, it was really wonderful in the fitting room to craft Annie's character with Wumni.
09:26She came back several times because it is a transformation process.
09:30It's a growing.
09:31You grow together.
09:32And I begin to love your costume.
09:35I fall in love with your costume.
09:37So, even after she leaves, my mind is still ticking on, what other things can I do for this character?
09:46So, that was only a small part of our process together.
09:51I mean, I really just, I loved watching Ruth work.
09:58Because, like she said, she was always thinking about something in, like, I'd leave and I'd come back.
10:05And I'd be like, wow, there's more depth.
10:07There's more nuance.
10:10There's a bit of embroidery there.
10:12Or like, oh, they changed the buttons.
10:15Or, oh, there's a little slip of red.
10:18I'm like, and every time I came into costume, I just felt like deeper and deeper, richer and richer, more and more connected to Annie.
10:27I got so excited.
10:29Can I just say, that never happens for me.
10:32With costume, I find costume the scariest part of the job.
10:36Because you have to feel confident and comfortable in someone else's clothes.
10:41Clothes you would never pick for yourself.
10:44Never dream of wearing.
10:46And feel confident and, like, full, 360.
10:50So hard.
10:51So hard for me to do.
10:53But working with Miss Ruth, it was, like, easy.
10:59I got excited.
11:00Like, oh, it was like a dream.
11:02I was like, oh, this is why you are who you are.
11:06And you've been in this industry for 40 years.
11:08Like, this is why you are who you are.
11:10Because you make it like a magical process where you're excited to put someone else's clothes on.
11:17And we had this dream sequence where it was all white.
11:21And I remember being together with you in your fitting room, not only for that scene, but other scenes.
11:27We added, like, a little feather to her hair that also was like a spiritual touch.
11:33But the day that she was dressed in the white.
11:36Remember, I said, I feel like this is like a wedding day or something.
11:39Because, you know, just being in character does, you know, create this togetherness of, you know, where we've come and what we're doing and storytelling.
11:53It all kind of converges, so being in the fitting room is one thing, but also being together with them on set.
12:00I feel like I'm the shepherd.
12:01I shepherd their costume to their room.
12:04I shepherd them into their costume.
12:06I want them to feel confident and feel like they're in the right costume for the scene and for the character.
12:13And in turn, you shepherd us into our characters.
12:16Which is, it's amazing.
12:20This makes me smile so much.
12:21I'm just really excited for y'all to see this film.
12:23Oh, you're still here?
12:25Because I can tell, you know, the passion that you two have for your craft.
12:29It's just amazing.
12:30Annie's character, she's very dynamic.
12:33And as a hoodoo conjurer, she takes on many responsibilities in the film as well.
12:38How is she able to balance being both a protector as well as a fighter in this film?
12:43I feel like that is what black women do.
12:47I feel like it's what mothers do.
12:50I feel like it's what lovers do.
12:52But I feel like she was all of those things to the nth degree.
13:04Like, her love is so powerful.
13:07Her power is so powerful.
13:09Her wisdom is so powerful.
13:11I don't know.
13:12I feel like, I don't know.
13:15I love Annie with all my heart.
13:17I think of, I don't know.
13:19I just, sometimes I catch myself thinking, what would Annie do?
13:22Like, slow down and, and yeah.
13:27So I don't know.
13:28It wasn't, it wasn't so much a, it was, the balance is, it was just who she is.
13:37And I, and so it was about embodying her to get that balance, you know?
13:44Yeah.
13:45So Miss Carter, I'm a huge fan of yours, as you know, a lot of people in this room probably are.
13:51Now you've worked on several films set in different eras throughout your career.
14:04Malcolm X, Rosewood, Amistad, and the list goes on.
14:08Um, Sinners is based in the 1930s southern United States.
14:12Were there any historical events, sources, or influence that you found especially helpful
14:17when designing costumes for Sinners?
14:20Oh yeah.
14:21I mean, I've always been a student of my passion.
14:23The passion of costume design means that you have to go, as they say in jazz, in the woodshed.
14:29And you have to study your craft.
14:31So I was always fascinated by The Great Migration, Isabella Wilkinson's Warmth of Other Suns.
14:38I'm always, like, reading because you don't have time when you're making a movie to necessarily, like, educate yourself to the point of, like, knowing, like, the way people lived and the things they had to do.
14:53Um, I keep a book with me, you know, but I'm also looking also at photo references.
14:59But by reading, I actually know what I'm looking at.
15:02It's one thing to be influenced by the photos, but it's another thing, quite another thing, to actually know what you're looking at and what these people are doing.
15:12And it also informs you about how they're feeling.
15:16So there was Robert Palmer's book, The Deep Blues.
15:22There's, uh, Andorra, Eudora Welty's photographs where this woman photographed people during Jim Crow, the Jim Crow South.
15:32And we know that this is a story about the Mississippi Delta, where a big flood came in in 1928.
15:39Our film takes place in 1929.
15:41They're already disenfranchised.
15:43They don't have any rights.
15:45They're in Jim Crow.
15:46They're working on plantations and making plantation money.
15:50That is no good in the world, only good on that and a neighboring plantation.
15:55So, uh, so the idea of like creating this world of people who want to migrate north on the trains and go to Chicago and have a better life for themselves when they're not relegated to the farmer's rules.
16:12They actually can work a job and their children can go to school instead of work in the fields.
16:17That fascinates me.
16:19So when I have the opportunity to tell a story through classrooms, I want to take you into my, my mind and say, oh, I had one lady who was background and she was at the train station.
16:35And I told the prop department, I said, nobody has, nobody black has luggage.
16:42Everybody is wrapping things up in a box with some rope.
16:46That's how they're taking their stuff.
16:48If you have a suitcase, it's old and battered.
16:51And this one woman, I poked holes all around the box and I put a feather boa inside and I pulled the feathers out.
16:59I said, girl, you carrying your chickens north.
17:01You know, you can't leave your chickens.
17:03And it was just beautiful to really, I mean, no one really sees this but me.
17:10I think sometimes you collectively see it because we're creating a world and we're trying to create it authentically.
17:20And we spend so much time with the actors and the actors bring such a wealth of talent to the screen.
17:28We have to support that in a broader sense.
17:32And I forgot your question, but I hope I answered it.
17:35Okay.
17:36It was perfect.
17:37That was perfect, Miss Carter.
17:41Now, Woonmi, you star alongside a phenomenal cast, but specifically Michael B. Jordan.
17:47What was it like working with Michael to bring the incredibly complex relationship between Annie and Smoke to the screen?
17:54I mean, Michael is a dream acting partner.
17:59He's such a hardworking person and he's also someone who really loves the challenge.
18:07And as talented as he is, he still gets like nervous and like, you know, and so, you know, we were always kind of pushing each other.
18:20We were like, I was too scared to, I was too scared to hold your hand.
18:24And he was like, don't be scared.
18:25Next time we just go.
18:26We're going to go.
18:27If you're scared about doing it, just do it.
18:29If you have the instinct of doing it, just do it.
18:32Let me tell you, it's a safe space.
18:35You'll never do anything wrong.
18:37I mean, I have never had an actor kind of just say that, like, just do it.
18:44There is no such thing as wrong.
18:45And I've got you.
18:47And his work is so detailed and so specific.
18:52You know, he plays twins, right?
18:54I could tell in our, in our, um, camera test week one, I did my camera test with smoke, Annie and smoke.
19:05And then he went to change.
19:07I didn't know what he was changing into.
19:09And I had to turn around and in another costume.
19:12And someone came up behind me and I was like, who is that?
19:17I couldn't see it.
19:19But I just, I just knew he had changed.
19:24And when I turned around, it was stack.
19:28And I was like, oh, wow.
19:30This guy is so good.
19:32Like, I could feel that he was his twin.
19:35He wasn't smoke.
19:36And that happened every day on set.
19:38Like, when he was smoke, I could, we were like in sync.
19:41And when he was stack, I was like, oh, it's stack.
19:44Yeah.
19:45Yeah.
19:46Okay, stack.
19:47You know, like, I could feel it with my eyes closed.
19:50His talent is, is something else.
19:53And it's kind of blows my mind that he could ever feel like nervous or whatever.
19:58But it, that's also that, that humility and that drive that he has, that he, nothing is,
20:06it's, it's, it's, it's, he's always trying to do more better, give a better performance.
20:14And, and yeah, it was like, I learned a lot on that job.
20:19Yeah.
20:20Yeah.
20:21That's amazing.
20:22He had the toughest job.
20:23He had such a hard job.
20:25My goodness.
20:26So I wanted to actually stay on him.
20:28And this is for you, Ms. Carter.
20:29Okay.
20:30He plays two characters, as she said, and you had to design those looks for him.
20:36How did you differentiate their looks while still tying them together as twin brothers?
20:41Well, Ryan Coogler said, you know, I want smoke in blue and stack in red.
20:45I said, yeah, well, they're in suits, you know, like, yeah, one's in a red suit and one's in a blue suit.
20:50And I was like, okay.
20:52Let me get my head around that.
20:54Because I knew it was 1928.
20:57And it's not like, you know, I could really see that a blue suit and a red suit would fit in this period.
21:05Then we had a camera test with, with Michael B. Jordan's stand in and I gave him a cranberry suit and then I gave him a blue suit.
21:14And I was like, okay, I'm beginning to see how this works.
21:17But what we ended up with was a brown pinstripe suit for stack with the red pinstripes.
21:27And then I flew back here because I had to shop everywhere.
21:31And I went to this hat shop.
21:33And there in this hat shop on Melrose was this red, this red hat, this red fedora.
21:41And the brim was turned up all the way around.
21:44So I put it in a hat box and I hand carried it back to New Orleans.
21:49And I instructed my team, do not crush this brim.
21:53Whatever you do, this red hat and this perfect brim is his character.
22:00It needs to sit on his head.
22:02You know, you had that uncle who was always coming in the house with his friends.
22:07So I, they did, we, we actually bought these cowboy cases, cowboy hat cases, and we kept the hats in there on set.
22:16Now, Smoke, Smoke was like a brawler.
22:20He's like that guy in Devil in a Blue Dress that Don Cheadle played where, you know, he'll just cut you down in a second.
22:27So I wanted Stack because he was kind of from like pimp culture, you know.
22:34So he's a little more flamboyant with his red.
22:37He has a pink shirt and a red tie and his brown suit with the red pinstripes.
22:42But Smoke is the brawler.
22:46He's kind of like the industrial strength character, you know.
22:50So he's not as tailored.
22:52His, his pants a little big.
22:54His, his, he's got comfort because he got to hide so many guns in his clothes.
22:59He needs room so you don't recognize that he has all of that weapon tree under there.
23:05And I love to see them in their costumes because when Stack comes to set, I was being meticulous about every little thing.
23:15The tie bar, the pocket square, that everything had to be perfect.
23:20When Smoke was on set, it was a lot more relaxed.
23:24His pants were loose.
23:25They were kind of big a little bit.
23:27But I kind of loved that he could use the bigness of it as his character and just, you know, we're not perfect like that.
23:35A lot of movies or TV shows or what have you will do every single perfect person.
23:42And I was trying to be perfectly imperfect with Smoke.
23:48Now wound me.
23:53Ms. Carter's costume designs are known for their depth in their storytelling.
23:58How did Annie's wardrobe help you embody the character and connect her with the spiritual essence?
24:05I'm just listening to Miss Ruth and I'm like, I mean, how could I not have fallen straight into Annie's character with, when she had so much meticulous thought behind it.
24:20I mean, just listening to the difference between the suits now, I'm like, wow, I can see that.
24:26I really see the tailoredness and the loose.
24:29I didn't notice it, but it's just amazing how much thought you put into everything.
24:34Wow.
24:35Wow.
24:36Yeah, Annie's costume was so, it was just so her.
24:43And it was like every day we'd come and something was different, whether or not it was like a tie in the waist of the top.
24:52Like, it was like, the top was fine.
24:55And then she just tied it in this knot and it was like, oh, okay, that's, it's perfect.
25:03The belt, my little tool belt, it was delicate, but it was, it was, it was robust.
25:11It was leather and it had all my tools, had my protection.
25:15It had, I don't know, like everything.
25:19I mean, yeah, like I said, the slit in the, in the skirt, that little bit of red, it just gives you a little, it just gives you a full, a full, a full costume to step into and just inhabit.
25:37And it, everything just adds to your building of this character, the shoes, the, I loved how much leather and, and, and, and, and I just felt like, and wool, everything kind of felt so natural.
25:55And, and, and Annie is so natural.
25:58And then like the feather in the hair, there's a feather in her mojo bag, you know, um, the little talisman, the talisman on the, on the, on the counter, she has one here, she has one outside.
26:13I, everything was so in sync that, I mean, we were so helped as an actor when you have such incredible artisans building with you and around you because it's, it is the costume, but I'm now thinking about Hannah's set and, and the links between the set, the costume, the set, the costume.
26:40And I'm like, oh, it's, it was all there to, to make my performance richer, more real and, and, and fully inhabited.
26:52Yeah.
26:54Yeah.
26:54Well, thank you.
26:56I love that.
26:59She was a part of her world, so you couldn't do them separately.
27:03Her part is, parts of her world had to be an adornment in her, in her look.
27:10Yeah.
27:10In our womb, you actually spoke about the set just now.
27:13So one of the, uh, I feel like an uncredited character in the film was the juke joint.
27:18It was a place of music, magic, and community.
27:21Uh, how did working alongside the musicians and performers help to shape the art, the authenticity of the role of the world that Ryan Coogler created in Centers?
27:30You know, I felt like being in the juke, like we were there for pretty much like half of the shoot and it felt like we were doing theater all of a sudden.
27:42Now, your castmates who you really like and really respect, but you know, you're running around here, there, and everywhere between sets and locations, you don't get the same.
27:54I mean, I didn't, I don't feel like you get the same feeling as being in one place for weeks on a, and it really felt like a family.
28:05It felt like a safe space.
28:08It felt like, um, a little, a little, a little secret, a little sanctuary of cast and crew.
28:17So, yeah, the juke was absolutely another character and also another teammate in building the team.
28:29We, I've, again, like I've never been on a set where the cast, the crew, everyone was so in sync.
28:39Like in, so in sync, it was just, it was, it was a, it was an easy place to be.
28:48So, yeah, I'm, the juke was like, it was a dream spot.
28:52I looked forward to going there every day, even if it was on a night shoot, I was happy to be there.
28:57Like, um, yeah, it, it really is, uh, uh, it became like a, uh, yeah, sanctuary.
29:05Yeah, and we had real, the real thing as far as musicians go.
29:09Ludwig, Ludwig was our musical director.
29:12And so people were flown in from all over the place.
29:14I remember a guy from Cuba, he came in, he was a piano player.
29:18And when I was dressing him, I noticed he had two different color socks on.
29:22And I was like, we're going to keep that in your character right there.
29:25You know, so you see him in the juke joint and he's, you know, jamming on the piano.
29:30And you look at his, at his shoes and he's got a red sock on and a blue sock on.
29:35So, I mean, just working with Buddy Guy, you know, just really being in, um, the presence of really great musicians
29:45that came in to lend a part of their, their genius to this film was so inspiring.
29:53Now, Ms. Carter, sinners weaves elements of horror, thriller, and action.
30:00For you, what was the most exciting or challenging aspect of working in a genre bending film like this?
30:06Listen, all that blood on my costumes.
30:09I was like, okay, y'all do that, y'all do that.
30:12And then Ryan would say, more blood, more blood.
30:15And, uh, that took a while to get used to.
30:20And, you know, I've done films where there were stunts and you had to have multiples.
30:26You needed to be prepared for what was coming up.
30:29So you're planning a costume ahead of time.
30:32But, you know, when they get to squirting all that blood, I'm like, okay, I'll be out by the monitors.
30:37Call me if you need anything.
30:39I love the aspect of the history.
30:42I love the aspect of the fact that it's about the blues and how it influenced so many genres of music, jazz, rock and roll.
30:52And we got to put all that in this film.
30:55And then here come special effects with the blood.
30:59So I, that was the toughest thing.
31:02I had never done a horror picture before.
31:05And that was the toughest thing to get used to.
31:08Um, because you have a wardrobe truck that is completely encased in plastic bags.
31:15Because everything has continuity.
31:18And the bloody shirts are like, you know, six or seven lined up.
31:21And there is a storyline behind how they go on this journey.
31:26And it starts small and it ends up really big.
31:29So to keep that storyline together of a vampire film.
31:33And when they first got bit.
31:35And then they, you know, fought.
31:36And then he hugged his dying person.
31:40I won't give it away.
31:41And he's full of blood.
31:43So that part, I don't think I'm still used to it.
31:47Wumi, same question.
31:51What was the most exciting or challenging aspect of working on this film for you?
31:56I'm going to go with challenging.
32:00Um, the most challenging thing I, for, I think for us actors was filming in Louisiana outside at night with lots of bugs and crocodiles.
32:14Mosquitoes.
32:15Mosquitoes.
32:16Yeah.
32:17I'm from New Orleans too.
32:18So don't get too mean.
32:19I mean, I had never heard of chiggers before.
32:23And we got eaten up.
32:25Like, and seeing and trying to keep everything like, you know, like keep the story going for the other actors.
32:34When you're like behind the camera, but you're getting eaten up.
32:39Like I could, I could see Mosquitoes just landing on Michael's neck and just going, gung ho on his, on his neck.
32:48And he was like, still trying so hard to be there for the other actor who the, who the shot was on.
32:57And then like, you could just see like little moments, but he really, really tried.
33:02We all really, really tried, but it was the, that was the hardest thing.
33:06Cause it was, I mean, it was bad.
33:08I was wondering how you guys kept a straight face.
33:11It was so hard.
33:12Like it was so hard, especially for the other actors.
33:16Cause it was like, you know, you see someone doing this and you, and you're on camera and you're trying not to laugh.
33:23It was, it was hard.
33:24That was, that was the heart, the most challenging, I think.
33:27And the weather, the weather.
33:29And sometimes, you know, getting flooded out of a set, like, and then there's a crocodile there, you know, you're like, oh, okay.
33:37I don't like it when we can't see the snake wrangler because it means he's busy.
33:42Yes.
33:43Yeah.
33:44You know, we have steak, the wranglers on set that watch out for the critters.
33:49Yeah.
33:50So when you see them, you're like, I'm not getting out the van.
33:52I'm sorry.
33:55Well, ladies, thank you for an amazing conversation.
33:58I cannot wait for the world to see sinners.
34:00Give it up for Ms.
34:01Ruth Carter and Wumi Musaku.
34:07There are legends of people with the gift of making news so true, it can pierce the veil between life and death.
34:21Yes, I lied to you.
34:22Yes, I lied to you.
34:23Yes, I lied to you.
34:24I don't believe you, man.
34:26I don't believe you, man.
34:27I don't believe you, man.
34:28I don't believe you, man.
34:29Just power.
34:30Just power.
34:31You did a wonderful job.
34:33It doesn't work for you.
34:34You're like me.
34:35Yes.
34:36Yep.
34:37In Southwave Niners.
34:41April 18th.
34:46I don't even know if you kiss the step.
34:55Hey!
34:56It's all gone.
34:57It's all gone.
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