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The Daily Show - Season 31 - Episode 54: RZA watch full. #TheDailyShow
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00:03From the most trusted journalists at Comedy Central, it's America's only source for news.
00:10This is The Daily Show with your host, Josh Johnson.
00:27Welcome to The Daily Show.
00:30I'm Josh Johnson. We've got so much to talk about tonight.
00:32The Voting Rights Act gets sent to a farm upstate.
00:35The race for California governor is more packed than an L.A. freeway.
00:39And we'll tell you which body part Trump has started teasing people about.
00:44It's not the tank, all right?
00:46That was my first guess, too.
00:48So, let's get into the headlines.
00:54Let's start with the latest update on the war in Iran, which is that there is no update.
01:00It's still happening, you know?
01:01I'm starting to get worried about my river cruise this summer up the Strait of Hormuz.
01:08Man, I booked a balcony room, too.
01:11But don't worry, because Donald Trump is doing everything he can to wrap it up.
01:15We're having talks with him now, and we're not flying anymore with 18-hour flights every time we want to
01:20see a piece of paper.
01:22We're doing it telephonically, and it's very nice.
01:31Telephonically?
01:33Damn, that's an impressive word, you know?
01:36Makes anyone with a phone sound like a wizard.
01:40I order large meat lovers telephonically.
01:45Now, to be clear, that is a word, but he didn't know that.
01:51He talks the way I play Scrabble, you know?
01:54Just like, oh, wow.
01:55Um, I was just throwing letters together.
01:57How many points is that?
02:00That was from yesterday, during an event Trump did with the Artemis astronauts and the chief of NASA.
02:05And we all know Trump loves space, so he has the utmost respect for these professionals.
02:10Sorry, are you considering relocating NASA's headquarters out of D.C. once the lease is up to states like Texas,
02:18Ohio, and Florida?
02:18Well, the best man to tell you that is the man standing right over here.
02:22You heard that question?
02:23With those beautiful ears of yours?
02:25He's got great hearing on him.
02:27He's got super hearing on him.
02:28Trick of the train, sir.
02:36Wow.
02:38He's just standing there like, good one, sir.
02:43Haven't heard that since grade school, and, uh, I didn't think I'd hear it again, but I did.
02:49In my 40s.
02:51From the president.
02:54Trump just can't resist being a bully.
02:57He's sitting there like, hey, they say in space no one can hear you scream, except for this guy, right?
03:02He can definitely hear it.
03:03Am I right?
03:04Am I right?
03:07And by the way, these astronauts do not look happy to be there.
03:10They're like, this is the most uncomfortable I've ever felt, and two weeks ago, I was pooping in zero gravity.
03:17But let's move on, because while Trump was ear-shaming astronauts, the Supreme Court was busy at work.
03:23This morning, the Supreme Court delivering a major blow to the landmark Voting Rights Act.
03:27The court's conservative majority ruling six to three that Louisiana's current congressional map with two majority African-American districts is
03:36unconstitutional, saying lawmakers allowed race to play a part in government decision-making.
03:41Democrats blasting the ruling, arguing that other majority black districts are now vulnerable to being erased.
03:49That's right.
03:50The Supreme Court saw that Louisiana had two whole black congressmen, and they were like, whoa, what is this, Showtime
03:57at the Apollo?
03:59Let's dial this back.
04:01But now, thanks to the Supreme Court, black districts are going to get erased all across the South, which is
04:06horrible for civil rights, but pretty great for all the new civil rights movies we're going to be making.
04:12So this is fantastic from, like, a Denzel-only perspective.
04:17And obviously, the Supreme Court didn't come right out and say that states can be racist.
04:22Justice Palpatine isn't that dumb, all right?
04:25He played it much smoother.
04:27Justice Samuel Leto writing, race can only be taken into account when there's evidence that a state intentionally drew its
04:34districts to afford minority voters less opportunity because of their race.
04:38That's crazy, all right?
04:40So just to be clear, for Alito, the map is not racist unless the guy drawing it finishes it and
04:47goes, man, I'm racist.
04:53Now, if you're watching this whole thing unfold and you're thinking to yourself, this seems pretty racist, Republicans have great
05:00news for you.
05:01I think after 160 years of after the Civil War, it's time that we didn't have a race-based reason
05:08for doing things.
05:09In 2026, in the United States, the reasons to use race for line drawing deliberately that occurred to remedy discrimination
05:16in the South 50 years ago no longer exist in America.
05:20The court said you have to have modern examples of how voters have been racially discriminated against.
05:25And fortunately, America has come a long way since the 1960s.
05:28It has, fortunately.
05:29It's the end of pretending that this is a racist country.
05:37Racism's over.
05:40Oh, boy, I can finally use my real voice.
05:48What's up, dawg?
05:53I just thought when racism would be over, we'd hear about it from, like, a civil rights leader or something.
05:58Not a guy who looks like a racist version of the dad from Modern Family.
06:04It almost feels like we're going in reverse because the people from the 60s in black and white TV were
06:10like, wow, this country is being pretty racist.
06:12We should pass some legislation.
06:14And the people crippling that legislation are from now in 4K.
06:18Just so we're all aware, newscasters who would do reports like, that Jackie Robinson is the best colored player in
06:25the Negro League, believed in voting rights more than our representatives now.
06:29What these people don't get is that to the extent that there's less discrimination now, it's partly because we have
06:36the VRA.
06:36So this is like my uncle, who threw away his medication because he said his heart wasn't bothering him anymore.
06:43And to be fair, he did stop having heart problems because he's dead.
06:51And one of the most brain-breaking things about this ruling is it's literally taking power from black people in
06:58the South.
06:59And it was voted for by a black guy from the South.
07:03Supreme Court Justice Clarence Thomas is black.
07:06He might not know it, but he is black.
07:11How could you, of all people, vote for this, Clarence?
07:15You are like an uncle to all of us.
07:18Uncle Clarence Thomas.
07:21Uncle Thomas for short.
07:24Uncle Tom for shorter.
07:35But look, we don't have to pretend here.
07:38At the end of the day, we all know that this decision was not about moving on from race.
07:42This is the Supreme Court majority handing a win to Republicans.
07:46I know that.
07:48You know that.
07:48And the Republicans definitely know that because their leader said it out loud.
07:53Mr. President, I want to go back to the Supreme Court ruling on their Voting Rights Act.
07:56I know you said you haven't seen it.
07:57When did it come out?
07:58Just now?
07:58No, it came out this morning.
08:00But basically very much narrows the Voting Rights Act.
08:02Was it considered a win for a win?
08:04A win for a Republican.
08:05I love it.
08:08You could always count on Trump to get right to the point.
08:11Like, it's a win for Republicans.
08:13Did you guys hear that?
08:14I know this guy did.
08:18For more on the peeling back of the Voting Rights, we go live to Republican headquarters with Roddy Chang.
08:37Roddy, Roddy, what's the move like over there?
08:40It's pretty f***ing lit here, Josh.
08:43Yeah, they're partying like it's 1964.
08:46I'm talking multiple guys snorting cocaine off of Stephen Miller's penis.
08:52Oh, gross.
08:54Roddy, this is going to screw up the whole country.
08:56Oh, no, no, no, no.
08:57I don't think his penis is big enough to affect the whole country, Josh.
09:01No, not Stephen Miller's penis.
09:03I mean the Supreme Court ruling.
09:05Oh, oh, right, right, right.
09:06Hey, guys, guys, I'm filing a report here.
09:10Can you take it to the Oval Office?
09:13Okay, thank you.
09:14Jeez.
09:15Sorry, Josh.
09:16Yeah, what were you saying about Stephen Miller's penis?
09:19I wasn't.
09:20Black people are being disenfranchised.
09:22Aren't you worried about Asian people, too?
09:24Uh, no.
09:26Why the f*** would I want more Asians in Congress?
09:31Congress is basically a nursing home for pedophiles.
09:34Like, what are Asians going to do?
09:36Hang out and get horrible hand jobs from Lauren Boebert?
09:41I can do that myself.
09:44You really think Asians want a slingback Jell-O and applesauce of James Clyburn?
09:49No, thank you.
09:51But we need to get people in Congress.
09:53Congress is where the people have the power to change things.
09:56The power to change things?
09:58Oh, look, everybody.
10:00Well, Congress, we're going to pass bills and fix problems.
10:03What the f*** is this?
10:04A Schoolhouse Rock episode?
10:07Dude, Congress doesn't do s***, okay?
10:10They don't pass laws.
10:12They don't stop Trump from starting wars.
10:13Congress couldn't even pass the funds to scoop that turd off of Nancy Pelosi's desk.
10:19Okay, but we have to do something.
10:20How do we push back if we can't get into Congress?
10:23Money!
10:25Duh!
10:26Josh, you ever heard of it?
10:27It's called moolah.
10:29It's the most powerful branch of government.
10:32You want your voice heard?
10:33Just get super rich, and you can buy whatever politician you want.
10:36You can even make them do stuff.
10:38You can probably get Ted Cruz to vote on your bill or punch his own dick.
10:44Okay, I'm listening.
10:47But how do we get rich enough to buy the politicians?
10:50Okay, look, one simple way is to inside the trade, okay?
10:54And the easiest way to do that is to get elected to Congress.
11:01Oh, s***.
11:02All right, well.
11:03Ronnie Chang, everybody.
11:07When we come back, we check in on the midterms, so don't go away.
11:28Welcome back to The Daily Show.
11:30The midterm elections are just a few months away,
11:32so to analyze all the campaign stories,
11:35we turn to Jordan Klepper,
11:36who is in our new Indecision Analysis Zone.
11:45I'm Jordan Klepper, and this is the Anal A-Zone.
11:5170% sure that's how you pronounce it.
11:54Tonight, we're talking about the election for governor in California.
11:58And after frontrunner Eric Swalwell dropped out
12:00to spend more time with his lawsuits,
12:02this race is wide open.
12:04For the first time in 20 years,
12:07a Republican could win statewide office.
12:09And because of California's jungle primary,
12:12Democrats could wind up shut out of the general election
12:14if none of them make it to those top two slots.
12:17Okay, sure, a Republican could win,
12:21but this is California.
12:22All the Democrats have to do is find a candidate
12:24with the slightest bit of charisma.
12:26And this thing is just over.
12:28How about former HHS Secretary Javier Becerra?
12:32Just finished a session to talk about the governor's race at the theater.
12:37Finished my session.
12:40I deserve a little treat.
12:49Yikes.
12:51This feels like writing into your math teacher at the mall.
12:55Wow, great to see you out, Mr. Becerra.
12:59Cool drink.
13:00Okay, fine, fine.
13:01How about you, billionaire Tom Snyder?
13:04Let's see if that...
13:05You have that California cool.
13:11Hello?
13:12Shh.
13:14Shh.
13:15Shh.
13:16Shh.
13:26I never thought I'd say this,
13:28but I think I prefer the real love, actually.
13:32Okay, you know what?
13:33We're looking for someone with a little more energy here.
13:36How about Katie Porter?
13:37I don't want to keep doing this.
13:38I'm going to call it.
13:42You're not going to do the interview with us?
13:44Nope, not like this.
13:45I'm not.
13:45Okay, all right.
13:48Maybe not that kind of energy.
13:49I just want a real human being.
13:53How about you, Matt Mahan?
13:55Some mayors have photos at the airport
13:58in the cities they represent.
13:59Others have plaques.
14:01Here in the capital, Silicon Valley,
14:02I have a hologram.
14:04Here's the mayor.
14:04What are your thoughts on giving me a raise this year?
14:09I'm focused on welcoming visitors.
14:11Sharing fans, look at the day.
14:12Oh, man.
14:14Man, it's going to be really strange
14:16when a new mom goes into that pod
14:18to breastfeed before her flight.
14:21Hi, I'm digital mayor Matt Mahon.
14:23It looks like you're whipping out your bazongas
14:25to nurture your child.
14:27Can I help you with that?
14:29You see the problem?
14:30All these Dems are riz-less.
14:32And it's left the door open for Republicans,
14:34like this guy, Sheriff Chad Bianco.
14:37Now, his vibe is kind of all the village people at once.
14:43And I will admit, Chad Bianco is a very strong name.
14:48It's the kind of name that gives you permission
14:50to speak about yourself in the third person.
14:52Chad Bianco will have the sea bass.
14:55Thank you very much.
14:56So, you know what?
14:57Let's hear it from this macho man himself.
14:59Chad Bianco, what are you bringing to the table?
15:02I am the antithesis to California state government.
15:06Ooh.
15:08You whiffed on that antithesis there, Chad.
15:12You know what?
15:13I guess that's why this primary is somehow being led
15:16by Republican Steve Hilton,
15:19who, despite what you might think,
15:21isn't part of the hotel family or the Moby family.
15:24No.
15:26Hilton is a former Fox News host,
15:28and he's got Donald Trump's endorsement,
15:30which would put him at odds with most California voters.
15:33So, he must have a background that resonates with them.
15:36It all started with freedom.
15:38I was born in England.
15:40My earliest political memory was Mrs. Thatcher.
15:43Oh.
15:45Okay.
15:45He was born in England.
15:47But I'm assuming he came to America as a young boy.
15:51My parents were so proud
15:52when I made it to Oxford University,
15:54and then when I got a job with the Conservative Party,
15:58working for Margaret Thatcher.
16:00Oh.
16:01Okay.
16:03Still in England, through college,
16:05worked for Margaret Thatcher, et cetera, et cetera.
16:06Okay, but then, then it was time to move to America.
16:10I started a business, even a couple of restaurants.
16:14Later, I helped elect a prime minister.
16:16Worked in 10 Downing Street.
16:18When the f*** did this guy move to America?
16:22Is he running for governor or govna, huh?
16:27Did he decide to enter the race on the flight over?
16:31Do you have anything to clear at customs?
16:33Uh, yeah, my candidacy for govna, California.
16:38Okay, so, when did this guy finally move here?
16:42In 2012, we moved to America, to California.
16:462012?
16:47The office came to America before he did.
16:52And on behalf of the Comedy Central Programming Department,
16:56we thank you.
16:58All right, Stevie, enough about merry old England.
17:00What's your vision for California?
17:02Great jobs, great homes, great kids.
17:04Great jobs, great homes, great kids.
17:06Great jobs, great homes, great kids.
17:09Great kids?
17:11This British guy just fell out of the sky,
17:14and now he's gonna tell you how to raise your kids?
17:16He's like bald Mary Poppins over here.
17:19Hello, hello, I'll fix up your wanker kids.
17:23Cheerio, innit?
17:24Look, you might not care which of these freaks or duds
17:27gets elected as governor, but you should.
17:30Because of California's size and economic might,
17:32their laws often affect the rest of us.
17:35And handing that power to the wrong person
17:37is simply the...
17:39the...
17:40what's the word?
17:41The antithesis.
17:43Yes.
17:45It's the antithesis of what we want.
17:51Thank you, Jordan.
17:52When we come back, Lizzie will be joining me on the show.
17:55Don't go away.
18:07Welcome back to The Daily Show.
18:09My guest tonight is a legendary rapper, producer,
18:12and founder of the Wu-Tang Clan.
18:14He wrote and directed the new film One Spoon of Chocolate.
18:17I'm telling you this because if you want to live,
18:22I suggest you leave this town immediately.
18:33I came to Ohio because I have nowhere else to go, man.
18:38You can stand here.
18:42Or you can leave.
18:45I can stand here and fight for what's mine.
18:49Please welcome Rizzo.
19:01Thank you so much for coming.
19:18My pleasure, man.
19:19I appreciate you.
19:19Oh, and congratulations to you and all of Wu-Tang
19:23getting inducted into the Rock and Roll Hall of Fame.
19:25Rock and Roll Hall of Fame.
19:27How you gonna do that?
19:29I know.
19:30That was, uh...
19:32That made me feel like a kid again, you know?
19:34Like, out of all things of this year,
19:35when I got that news,
19:37the little kid in me just bubbled up
19:39and just came in.
19:40I had the biggest Kool-Aid smile you could see.
19:42That was a big moment for me.
19:44I'm so glad.
19:45Like, it just seems like
19:46when you have such a, like,
19:48a legendary story career
19:49and you rack up all these achievements
19:52over a catalog,
19:53it's like sometimes you wonder
19:55if people just get used to the...
19:56to, like, that love and that recognition,
19:58but it's nice that...
20:00Yeah, no, accolades.
20:01Certain accolades just really hit you harder,
20:03you know what I mean?
20:03Yeah.
20:04This is one of those, yeah.
20:05That's awesome.
20:06That's awesome.
20:06Congratulations again.
20:07Before we go forward,
20:08let me take a moment, too,
20:09and say congratulations to you.
20:10I've been watching the show.
20:12You're doing a great job, man.
20:14That's when it says...
20:16That's so cool.
20:18That's so cool.
20:21Man.
20:24I honestly don't know
20:25if we're gonna top that.
20:26I think maybe...
20:27I have so much
20:28that I want to talk to you about.
20:30Your movie,
20:32A Spoon...
20:33One Spoon of Chocolate.
20:35The way that you constructed this movie,
20:37the way that you built it together,
20:38you've been working on this since 2012.
20:40Yes, yes.
20:41And I'm curious
20:43how many times
20:44something changes
20:45and something evolves
20:47over that much time.
20:48Because it's one thing
20:49if you take this much time
20:51for a first draft,
20:52but, like,
20:52you're shooting
20:53and you're probably reshooting.
20:56Like, what changed about the story
20:58as you started to tell it?
20:59I mean, the story evolved,
21:01but, you know,
21:02times have changed.
21:04And by the time we got to set
21:06in 2024,
21:10I think,
21:10when we finally got to set
21:11to shoot it,
21:13I just felt like
21:14the story had become pure.
21:18Like, as an artist,
21:19you gotta let yourself
21:20become a vessel.
21:21And sometimes you try
21:22to force the music out
21:23and it's a bad note.
21:25But if you sit there
21:26and wait for it to come through,
21:28it comes out
21:28as a beautiful song
21:30or for this particular thing,
21:32a beautiful movie, you know?
21:33And thanks to Shamik Moore,
21:36Paris Jackson,
21:37Blair Underwood,
21:39and a great cast of others, man,
21:40I think I got something
21:42that is timely
21:43and on time
21:45at the same time.
21:46Yeah, absolutely.
21:48Absolutely.
21:53The other thing
21:54that I'm really interested about
21:55when it comes to process
21:56is that, you know,
21:58for your music,
21:58you're taking
21:59so many different things,
22:01so many different influences.
22:02You've got, like,
22:02New York Grit,
22:03you've got jazz,
22:04you've got, like,
22:05Asian film culture
22:06mixing it all together.
22:07I like how you...
22:08Yeah.
22:09And I'm wondering
22:10if for the movie
22:11you almost make it
22:12the same way
22:12where you take
22:13a bunch of these influences
22:14and you wrap it up
22:15into something new.
22:16That is how I do it.
22:18And that's a great way
22:19to do it.
22:19You know, a story
22:20could be told
22:21like a song.
22:22You could write a song,
22:23you could make it acoustic,
22:24you could make it
22:26with a bass and drum,
22:27or you could make it
22:28with a hip-hop beat.
22:29So with a film,
22:30the story that I created
22:31remained the same,
22:32but the style,
22:33the teller.
22:34So I went and pulled ideas
22:36or cinematography ideas
22:38from classic movies
22:39in the 70s,
22:40movies in the 80s.
22:42There's a shot in my movie
22:44that is inspired
22:46by a movie called Christine.
22:48All right?
22:48So that's a horror film
22:51about a car.
22:51Now, my movie
22:52is not about that.
22:53Right?
22:56But the way
22:57the headlights were
22:58in that movie
22:58when I saw it as a kid,
23:00I wanted my film
23:02to have that same
23:02headlight effect
23:03so when the audience
23:04is watching it
23:05and this truck
23:06that's kind of
23:07going through the town,
23:08when they see those lights,
23:09they go,
23:09uh-oh,
23:10something about
23:11that happening now.
23:11You know what I mean?
23:12So that's the beauty
23:13of cinema.
23:15I like to call myself
23:16a hip-hop director
23:17because in hip-hop,
23:18I sample, sample, sample.
23:20So in cinema,
23:20I can do the same thing,
23:22sample different elements
23:23to tell my story.
23:24Got you.
23:25Got you.
23:25That's amazing.
23:29And, you know,
23:31this thing seems
23:32like such a,
23:34I mean, you already said
23:35pure, like such a
23:36holy passion project.
23:38You know, you directed,
23:40you produced,
23:41you did the music.
23:42Like, so much went
23:43into this one project,
23:45right?
23:46Yeah.
23:48Well, first of all,
23:49I had a great team.
23:50It's executive produced
23:51by Quentin Tarantino.
23:53All right?
23:54I went and got
23:55legendary producer
23:57Paul Hall
23:57who did movies
23:58like Higher Learning
24:00and Schaaf
24:01and some Tyler Perrys.
24:03And what I wanted
24:04to do was
24:06to surround myself
24:07with people
24:08that could let me
24:10do my thing,
24:11but if I went
24:12on the guardrails,
24:13they could be like,
24:13yo, hold on, bro,
24:14push a little to the left,
24:15push a little to the right.
24:16So writing is one thing
24:17and directing is another.
24:20But most directors,
24:21when they get stuck
24:22on a scene or a script,
24:23they go, hold on,
24:24let me call the writer.
24:25So I was like,
24:26okay, let me just talk
24:27to myself.
24:28You know what I mean?
24:29So hold on,
24:30let me figure this out.
24:32Yeah, we could do it
24:33this way.
24:33Yeah.
24:34So that was the benefit.
24:35And then one of the beauties
24:36of this, Josh,
24:38is that my wife
24:39is a producer.
24:40And so my office
24:42is right here.
24:43Her office is right there.
24:45Her office is much nicer
24:46than my office.
24:47Okay.
24:48Flowers and all that.
24:51But when there was something
24:53that I personally felt
24:54challenged with,
24:55I could go knock
24:56on the producer's door,
24:57go sit in her office
24:58and sneak a kiss.
25:00Yeah.
25:01And then go back to work.
25:02Yeah.
25:04And you,
25:05when you were directing this,
25:07you had to direct
25:08white people
25:09to be very,
25:10very racist.
25:14Was that awkward
25:15to like,
25:16be like,
25:16I'm not feeling it
25:17from your heart?
25:20You know what?
25:21No, no,
25:22there's some scenes
25:23in this movie
25:23where, you know,
25:25when you do a film,
25:25you get H&R, right?
25:27Human resources
25:27and you got to have
25:28these speeches.
25:29And there are scenes
25:30and times
25:31where we had
25:32to have meetings.
25:34My cast,
25:35my main villain
25:36is played by
25:36Harry Goodwins.
25:38And he plays
25:39a very dangerous,
25:41racist white guy
25:42in this film.
25:43And he's married
25:44to a black woman
25:45with two children.
25:46And he's from London.
25:47Yeah.
25:48Okay?
25:48So he had to,
25:50you know,
25:50really act out
25:51some of this stuff.
25:52And he's one of the nicest
25:53guys I ever met.
25:54So when you're an actor,
25:56you have to take on
25:57that role.
25:58And there's one scene
25:59in the film
26:00where my buddy
26:01James Thompson,
26:03James Thomas,
26:03who plays, like,
26:05one of the most
26:05ruthless guys
26:06in the film,
26:07and he, you know,
26:08he just seemed like
26:09he got lost
26:10a little into it.
26:11You know,
26:11he was like,
26:12blah, blah, blah, blah,
26:13blah, blah, ah!
26:15Did he say anything
26:16that wasn't in the script?
26:17Yeah.
26:19It was one word
26:20that wasn't in,
26:21well, it wasn't that
26:22it wasn't in the script.
26:22It was like, okay,
26:23I had two of those in there.
26:25Yeah.
26:26He's the three of them.
26:27Yeah, yeah, yeah.
26:28It's like,
26:29where'd that extra
26:30one come from?
26:31Yeah.
26:33But it made the,
26:35it made Shamik Moore,
26:37because Shamik Moore
26:38is such a gentle soul.
26:39You know,
26:40he's a special guy,
26:41and this is my
26:41third project with him.
26:43And I just love
26:44the fact that,
26:44that, you know,
26:46he's now evolving
26:47to a,
26:48I call him a man actor
26:49versus being a young adult
26:51or a child actor.
26:53But when that energy
26:54came at him,
26:55and he,
26:56it's the same
26:56where he holds
26:56his basketball,
26:57he's going to pop
26:58this guy in the face
26:59with it.
27:01On one take,
27:02the ball slipped out
27:03a little early,
27:05you know what I mean?
27:05But don't worry,
27:06the ball is plastic.
27:07It's not,
27:07it's not real,
27:08right?
27:09But the point was
27:10that the energy
27:11that was starting
27:12to build up,
27:13it caused
27:14this visceral reaction.
27:16And for the cameras,
27:17that's what I want.
27:19You know,
27:19I know it's delicate.
27:21I know that
27:22certain words,
27:23certain languages
27:23are trigger points.
27:25But this film
27:26is made to make you
27:28feel uncomfortable
27:28at times.
27:29It's made to feel,
27:31make you feel
27:31warm and relaxed
27:33when you see
27:33how young people
27:34can relate to each other
27:36and how the older generation
27:37is holding on
27:38to old school shit
27:39that,
27:39I can say that.
27:41Yeah.
27:41Yeah.
27:43Yeah.
27:50Okay.
27:53This is cable.
27:54I can let this
27:54a little bit.
27:55Right.
27:56But holding on
27:56to old school crap,
27:58I'm going to say that,
28:00that's past, bro.
28:02The film is like,
28:03let go of that.
28:05You know what I mean?
28:06And then there's moments
28:07in the film
28:07where no matter
28:08who you are,
28:09you're going to root
28:10for the hero
28:11because the insidious
28:12things that is happening
28:13in this film,
28:14if you see yourself
28:16on the screen
28:16with some of the people
28:17that's doing the evil,
28:19you need to check yourself.
28:20Okay?
28:21And if you don't feel
28:22the,
28:24you know,
28:24there's a scene
28:24where Paris Jackson
28:25and Shamik Moore
28:26kind of like
28:27put their two hands together
28:29and then,
28:30you know,
28:31they kind of embrace
28:31each other
28:32and then a tear
28:33comes out of her eyes.
28:35I didn't tell her to cry,
28:37but the character,
28:38I know that she felt
28:39the weight of like,
28:40yo,
28:40what's going to happen
28:41to our town?
28:42What's going to happen
28:43to him?
28:43What's going to happen
28:44to me?
28:44When is the world
28:45going to wake up
28:46and realize that
28:49all men
28:50are created equal?
28:52Self-evident.
28:53It's self-evident
28:54as our forefathers wrote.
28:55It said it's self-evident
28:56that all men
28:57are created equal.
28:58Black,
28:58white,
28:59red,
29:00brown,
29:00yellow man,
29:01and woman
29:03all created equal.
29:07That's amazing.
29:10There is,
29:11there is also
29:12something on my mind.
29:13You created distribution
29:15for this film.
29:17Like,
29:17you,
29:17you have,
29:18what I would say
29:19is one of the,
29:22like,
29:23four most creative minds
29:24in doing deals.
29:25Like,
29:25whether,
29:26whether it was with
29:26Wu-Tang back in the day
29:28or it's what you're doing now,
29:29you always really think
29:31artist forward
29:31and,
29:32and like,
29:33the way that
29:34the artist can,
29:35can work
29:36without getting lost
29:37and sort of,
29:38but whether it's jargon
29:39or legalese,
29:40whatever the thing is,
29:42and I see you
29:43making this distribution
29:44for yourself for the film.
29:45Is that something
29:46you want to do more broadly
29:47or did you feel like
29:48it was the only vehicle
29:49that you could get
29:50into theaters
29:51the way you want it?
29:52Well,
29:52it's a similar,
29:53it's a little bit of both.
29:54I wanted to make sure
29:55that if I could go
29:57through the funnel first,
29:58I can widen up
29:59a little bit,
30:00make it a little wider
30:01and then get other artists
30:03to come through.
30:04You know,
30:04look,
30:04it's not easy
30:05making a movie.
30:05It's a 30 hurdle jump,
30:07all right?
30:08To get it in cinema,
30:09there's another 30 hurdle jump.
30:11I formed 36 cinema
30:13and 36 distribution
30:14to maybe make it
30:15a 12 hurdle jump.
30:16You got to jump something,
30:17all right?
30:17Yeah.
30:18But if I could simplify
30:19it a little bit
30:20and get more stories
30:21into the system
30:22and get more artists
30:24that chance
30:25to kind of be artists
30:26and not be caught up
30:28because of budget
30:29or because of
30:30even some gatekeeping,
30:32you know,
30:32some stereotypes
30:33of what a character can be.
30:37You know,
30:37I'm trying to like
30:38at least crack that door
30:40a little more
30:41so a little more
30:42could get in.
30:43You know what I mean?
30:43Absolutely.
30:44You are an incredible legend.
30:46And this film
30:48and all the things
30:50you're doing,
30:51the deals that you make,
30:52the people you uplift,
30:53just add to your legend.
30:54So thank you so much
30:55for being here.
30:56Good seeing you.
30:56Good seeing you.
31:01One spoon of chocolate
31:02will be in theaters
31:03May 1st.
31:04RZA!
31:05We're going to take
31:06a quick break
31:06but we'll be right back
31:07after this.
31:08Yeah, my...
31:09My...
31:19That's our show
31:20for tonight.
31:21Now here it is,
31:22your moment of sin.
31:23Thank you,
31:23Chair Howard Schneider
31:25with Reuters.
31:26You mentioned that
31:27staying on as a governor,
31:28you intend to keep
31:29a low profile.
31:30I'm just wondering
31:30if you could give us
31:31a little more detail
31:32on what that looks like
31:33and how you can...
31:36Touché.
31:39What that...
31:40Yeah, walk down the steps.
31:42Sorry.
31:44Sorry.
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