how’re you doing right now I’m with
world-renowned artist producer
extraordinaire
mr. Bobby aka de the Rizla how you doing
that’s not yeah so I know you’re here
and you’re in a big match in the film
yeah
taught us about your character and how
you prepared for it till I heard also
he’s four he has a West Indian
background llaman yeah now yeah I’m
playing a character called Tremaine
Alexander brick mansion is a remake of a
film that was in France district 13
David Belle was a star that film he’s
also starring this film alongside of
Paul Walker and I play against the
villain of the film Jemaine and I to
prepare for it really um I just went to
some of my darker sides as well as some
of our comedic sighs – I kind of play
I’m kind of dark and funny at the same
time and I’m having a lot of fun and I
get up I get to change my voice I’ve
even once in a while when I’m making the
Carrie go special and things of that
nature mom you know okay respect respect
how is it being a director and a music
producer what are the comparisons I
think a music producer there’s like a
micro universe – what a director does
which will be a macro when I make a
album in the studio
maybe there’s a dozen people maybe 20
people the most that would have to fall
under my guidance more than my
controllers I produced an album but when
I wrote Don the man with the iron fists
it was days where I had four hundred
people that I had the command it was
told
one thing I can honestly say is all the
music I did with the wu-tang clan
prepared me to be a director I didn’t
know this at the time of course but when
I got to do the film and I had very
strong personalities in my film you know
Vic you own the place to lead characters
and ye Russell Crowe playing jackknife
Lucy Liu as well as some of the classic
Asian actors like Cordon Bleu
enchantment I know having orders great
talent under my control and making sure
that I can get the best out of everybody
what’s the challenge but dealing that I
already dealt with ol Dirty Bastard and
I dealt with Method Man and Raekwon and
Ghostface and these guys and master
killer so I had a sensibility and I
think it came very useful to me you
forge a weapon you need three things the
right metal temperatures over 1,400
degrees and someone who wants to kill
hilly jungle village we got all three I
know it says what the time – no presents
what’s your relationship with Quinton
territorial well Quentin Tarantino first
was I can sit on one of my best buddies
you know it’s a little cool guy we have
a lot of fun together we had a strong
friendship but he is what I recognised
to be a master of filmmaking and an
encyclopedia of film knowledge and I was
very impressed by him so impressed that
an accident could I be a student and he
accepted me as a student and I say for
about six years I was under his tutelage
of filmmaking and that came from going
to movie sets that he worked on and
sitting there in the corner of my
notebook taking our notes going to his
house and watching many films with him
and going to their festivals with him
alone and
and just exchanging knowledge and I was
alone so much for them and uh when I was
ready to direct my first film
you know I first had to check with a
maxim do you take already and the first
time I actually said no you’re not ready
yet and maybe a year later when I
actually said yes you already told me
that’s something what’s the most
important a piece of advice that he give
to you about filmmaker you can’t piss
six years into one sentence you know I
mean not only show a filmmaker could be
observant and should know the basic you
know technicals of your six angles or
even twelve angles if you want to break
it down to a clock knowing how to have
empathy which are actors in the Porter
energy out
but one of the best things he said to me
because this is a man who’s Wanda Oscar
twice for writing and he suggested that
I should write myself you should write
it he said because you already alright
as an MC so the visions in your mind you
should now put to paper as a film what
was there I don’t wish to be done the
most potent lesson I could give to
anybody else who’s watching this
interview is preparation is the key and
that goes through almost anything and
I’ve learned that most as a director
we spent up to fourteen weeks between
scouting even 16 weeks between skeleton
and pre-production that’s a long time
and if you only shot for nine weeks so
we prepared more than we physically did
the work and I could have used another
two more weeks of preparation because
you know when you pepper when you’re
preparing for anything what you
preparing for a boxing fight you know
you see a boxer he’ll train three months
4:01 our fight you know a
track-and-field person has to run day
after day and day just for a two-minute
race so preparation is the key
world-renowned artist producer
extraordinaire
mr. Bobby aka de the Rizla how you doing
that’s not yeah so I know you’re here
and you’re in a big match in the film
yeah
taught us about your character and how
you prepared for it till I heard also
he’s four he has a West Indian
background llaman yeah now yeah I’m
playing a character called Tremaine
Alexander brick mansion is a remake of a
film that was in France district 13
David Belle was a star that film he’s
also starring this film alongside of
Paul Walker and I play against the
villain of the film Jemaine and I to
prepare for it really um I just went to
some of my darker sides as well as some
of our comedic sighs – I kind of play
I’m kind of dark and funny at the same
time and I’m having a lot of fun and I
get up I get to change my voice I’ve
even once in a while when I’m making the
Carrie go special and things of that
nature mom you know okay respect respect
how is it being a director and a music
producer what are the comparisons I
think a music producer there’s like a
micro universe – what a director does
which will be a macro when I make a
album in the studio
maybe there’s a dozen people maybe 20
people the most that would have to fall
under my guidance more than my
controllers I produced an album but when
I wrote Don the man with the iron fists
it was days where I had four hundred
people that I had the command it was
told
one thing I can honestly say is all the
music I did with the wu-tang clan
prepared me to be a director I didn’t
know this at the time of course but when
I got to do the film and I had very
strong personalities in my film you know
Vic you own the place to lead characters
and ye Russell Crowe playing jackknife
Lucy Liu as well as some of the classic
Asian actors like Cordon Bleu
enchantment I know having orders great
talent under my control and making sure
that I can get the best out of everybody
what’s the challenge but dealing that I
already dealt with ol Dirty Bastard and
I dealt with Method Man and Raekwon and
Ghostface and these guys and master
killer so I had a sensibility and I
think it came very useful to me you
forge a weapon you need three things the
right metal temperatures over 1,400
degrees and someone who wants to kill
hilly jungle village we got all three I
know it says what the time – no presents
what’s your relationship with Quinton
territorial well Quentin Tarantino first
was I can sit on one of my best buddies
you know it’s a little cool guy we have
a lot of fun together we had a strong
friendship but he is what I recognised
to be a master of filmmaking and an
encyclopedia of film knowledge and I was
very impressed by him so impressed that
an accident could I be a student and he
accepted me as a student and I say for
about six years I was under his tutelage
of filmmaking and that came from going
to movie sets that he worked on and
sitting there in the corner of my
notebook taking our notes going to his
house and watching many films with him
and going to their festivals with him
alone and
and just exchanging knowledge and I was
alone so much for them and uh when I was
ready to direct my first film
you know I first had to check with a
maxim do you take already and the first
time I actually said no you’re not ready
yet and maybe a year later when I
actually said yes you already told me
that’s something what’s the most
important a piece of advice that he give
to you about filmmaker you can’t piss
six years into one sentence you know I
mean not only show a filmmaker could be
observant and should know the basic you
know technicals of your six angles or
even twelve angles if you want to break
it down to a clock knowing how to have
empathy which are actors in the Porter
energy out
but one of the best things he said to me
because this is a man who’s Wanda Oscar
twice for writing and he suggested that
I should write myself you should write
it he said because you already alright
as an MC so the visions in your mind you
should now put to paper as a film what
was there I don’t wish to be done the
most potent lesson I could give to
anybody else who’s watching this
interview is preparation is the key and
that goes through almost anything and
I’ve learned that most as a director
we spent up to fourteen weeks between
scouting even 16 weeks between skeleton
and pre-production that’s a long time
and if you only shot for nine weeks so
we prepared more than we physically did
the work and I could have used another
two more weeks of preparation because
you know when you pepper when you’re
preparing for anything what you
preparing for a boxing fight you know
you see a boxer he’ll train three months
4:01 our fight you know a
track-and-field person has to run day
after day and day just for a two-minute
race so preparation is the key
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