00:00Il groove è il cuore che batte. Il groove muove tutto quello che hai dentro. Forte, molto forte. Questo è
00:08il groove.
00:30In some ways, like, it has that significance. It has a lot of significance. Like, there's a bit of the
00:36black church, Sweet Date, Grace, but there's definitely some superhero aspect to the cape, you know, that he does there
00:43in Please, Please, Please. So, I think particularly black people have always seen him as a hero in some respects.
00:54For me, you know, I always identify him from his dancing and, you know, his music was played by my
01:05parents and by, you know, other family members.
01:11So, it's, you just know who James Brown is because, because of cookouts and family gatherings and all that stuff.
01:21So, and Soul Train and, you know, yeah.
01:28And playing him, you discovered something that makes you feel closer to him or you feel, you found something that
01:36was very different from your feelings?
01:40About him before?
01:42Knowing him now and playing his role, you found similarities or something very different from him?
01:51Well, I've been studying not just, you know, what the script says about him or what books say about him,
02:00but we've been studying his movement, you know.
02:03So, I would say more so than any character I've ever played, you know, any play, any, you know, when
02:12you study somebody's dancing, you're studying them moving at sort of this high spiritual level.
02:22And so, I know, I would say that it's beyond intellectual or emotional understanding, you're getting a sense of, because,
02:34you know, when you dance, it's not even like playing a sport.
02:38I can look tired when I play a sport, but when I'm performing, you know, I have to choose certain
02:48moments when it's okay to look tired, and that's part of the performance.
02:53But for the most part, I have to have a certain exhilaration and passion and look like I'm never going
03:00to come down from that.
03:01And so, seeing how, what he puts into a performance, it tells you a lot about him that I can't
03:11really express, but it's a deep, deep, deep, deep thing that he was such a passionate performer.
03:20Can we say that being James Brown starts from, from his foot, from his feet?
03:26I saw your, your footwork in, in a short, in a short, and it wasn't amazing.
03:35How did you work on it?
03:37Well, I don't, I don't know where it starts from, but I will say, uh, just, we had a great
03:44choreographer, um, who was, who was, for the most part, has not been teaching.
03:48Um, do this step, do this step, do this step.
03:52It's a vocabulary of movements that are James Brown movements, and we've essentially just studied them and studied footage of
04:02him dancing.
04:04And, and then you sort of listen to the music and let that get into you and, and, and find,
04:11um, what's going to move you at that moment.
04:14There's some set things that we have, but it won't, I would venture to say that no tape that we
04:19do will ever be exactly the same, because, you know, that's so part of what it is to, to, um,
04:26do the movement.
04:26So, it's just been a matter of trying to get that movement in me.
04:31Um, and the choreographer's name is, it's Aghman Jones, AJ, so, I think, that he's done a great job of
04:39that.
04:44Another great job you did with your voice, you, it's you singing.
04:52So, it will, it will, the movie will be, um, a mixture of, of me singing and, and him singing,
05:01because, um, you know, I'm pretty sure that, you know, people are going to want to go out and buy
05:07James Brown records when this is over.
05:10Um, you know, they're going to want to, you know, they're going to want to go out and hear him
05:13sing, please, please, please, please, so, so, for the most part, I think, when, during the performances in this movie,
05:20it will be him.
05:21Um, but I also, there's no lip-syncing going on.
05:25I'm singing with him, and it may be a mixture of my voice with his voice, um, but it's got
05:33to be him.
05:34Um, in other moments, when, you know, he's coming up with a song, or, or it's just, he's doing something
05:44musical, um, or he might be saying goodbye to his wife and kids, you know,
05:50and he sings, that's me, you know what I'm saying, so it's, it's, we had a great, uh, vocal coach,
05:58um, Ryan Anderson, who's working with some great artists who work with me in L.A.,
06:03and for me, that was the key, not only to, to finding, like, what is this, how can I merge
06:11his voice with mine for when we, um, when we have musical moments,
06:16but also for his speaking voice, because I felt like he spoke from the same, um, raspy place.
06:23So, that was, and it also helped me to not try to do an imitation, because I think there's a
06:32difference between, uh, imitating a person,
06:36and, um, you know, finding the spirit of a person.
06:40So, for me, playing real people is more about finding the spirit of that person,
06:48and, um, imitation would be making fun of them.
06:51So, I don't know if that answers the question, but that's my approach to it.
06:59Thank you.
07:00Se non sei mai stato a terra, come puoi arrivare in cima?
07:07Signor Brown, un'ottima domanda.
07:09Qual è il suo piatto preferito?
07:11Bobby, dia alla signorina bianca cosa mangiamo.
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