My work has been used to teach at colleges, played in AMC theatres' big screen for the #foodfilmfestival , been used as reference to write YA novel characters, and even been stolen by white producers as material for their tv shows. This isn't a brag-- but a declaration. That my work here in NYC is done. I was one of the catalysts needed for New Yorkers to challenge the status quo. This year my resolution was to spend more time outside of New York City than inside of it. To stimulate thought and stir shit across the globe. I've been working on a documentary about the cultural diffusion of Black and Asian culture in the hood-- documenting outside perspectives of Black people in London, Venice, Amsterdam, Paris, & Switzerland... and more recently Tokyo. Next is Seoul, Osaka, Bangkok, Gambia, and more. I'm really not playing games when I say I will be the most influential writer & cinematographer of the 21st century. I will be part of your grand children's curriculum.
I love this scene. Simply good filmmaking. It is an archetype. A simple scenario instantly recognizable to an audience. The universal experience is what we often try to achieve in film. The characters are us. But in making a film we constantly have to wrestle with the notion of what is real and what is contrived. The imperfection of a moment, the complexity and uncertainty even of character purpose, is sometimes exactly what is needed to make the moment believable. Which is why improv, stumbles etc can in fact be brilliant.
VO TIP OF THE DAY: My closet booth had been giving me a bit of a tinny sound as of late — so I threw a bunch of pillows in there and a blanket over the side and the difference is insane. When I made this many years ago I thought you just foam the heck outta something and BAM.... But really, a bunch of clothes and towels in a closet can sound so much superior. While it doesn’t offer a lot of room to perform, that’s where you need to find a balance when recording in NYC 👍😊