Latest / Yeah Buddy! Podcast / Unveiling 'Tunnel Vision': An Inside Look with Abdul El Amin

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Unveiling 'Tunnel Vision': An Inside Look with Abdul El Amin · Yeah Buddy! Podcast

• 0:00
  Music.
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  Yes, yes, yes, yes. What's going on, world? This is your man,
• 1:02
  Buddy Roming, and we are back at it with another episode of the Yeah, Buddy podcast.
• 1:09
  And this episode is like no other. You know me. I always like to bring my friends
• 1:12
  that work in the entertainment industry.
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  Come on, bring them on, talk about our journeys in the entertainment business,
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  whether it be movie making, whether it be doing stand-up comedy or whatever
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  it is, their profession.
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  And you know this episode is like no other
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  y'all this episode i got my friend coming all the way from
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  the bay area oakley california
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  my guy abdul l amin he
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  is a filmmaker he's not just a filmmaker he's a writer director
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  producer actor man he is a do-it-all swiss army knife guy he has his movie out
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  right now on tubi and on youtube and they're doing big numbers to do a big number
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  the His movie is called Tunnel Vision, and he's going to get into that.
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  And he also has another movie coming out next year on Tubi Vision, on Tubi and YouTube.
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  It's going to be called Arrogate Losers. He's going to give you a little bit
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  into that, too, a little insight on what he's got coming up for 2025.
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  So, y'all, so without further ado, y'all make some round of applause for my
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  good friend, Abdul El Amin.
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  Yes, yes, sir. Yes, sir. Yes, sir. How you doing, my God?
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  Good. How you doing, bro? doing good man doing good man
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  good to probably catch up with you chop it up last time i think we met it was
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  at you was doing the whole promo tours for tunnel vision you know your movie
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  that's out right now on on tubi and on youtube but before we get into that i
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  want to talk about how we how kind of like how we first met because it kind
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  of just it was just kind of like very like,
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  happenstance because it's out there in the middle of middle of nowhere,
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  So we're like in Humboldt County. I can't remember the exact city of it.
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  Yeah, it was something like that. I can't remember the own city either. Yeah, I can't remember.
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  It was one of those cities where you just, you know, if you was a black man,
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  you was in there just to make some money. Ain't nothing.
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  I ain't no living up in that, but we was in and out, gone.
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  But I was doing a stand-up comedy show there. You was up at the bar and you
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  was just talking about wanting to get into filmmaking and, you know,
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  just like, yeah, that's what I will do.
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  That's what I want to do and stuff all like that. so how did
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  you get started in filmmaking what
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  was your passion how did you just start to pick up the camera i
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  want to say maybe 96 i grew up on other one so my oldest brother he's nine years
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  old to me and he had moved out the house you know you know all my other siblings
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  were still there but he used to come by the house and say i had his network
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  it's like 96 and i got 10 brothers.
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  And he would make them like a car and do kind of crazy shit.
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  He didn't know what he was doing. He was just trying to make something work. That makes sense.
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  But that's the first time I was like, in fact, forward to 99,
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  E40 had a movie called Obstacles.
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  Y'all never seen it. It was Obstacles with E40, Brown Hooks,
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  D-Shot. Okay, yeah, yeah. I think I know what you're talking about. So my sister had me.
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  I remember him coming to the house and he told me he was part of his film.
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  This is like word of mouth, you didn't have to see it, just somebody,
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  you know, and I was like, I actually know somebody in the movie,
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  and when I came out, there was a certain person in the wrong neighborhood that was in that film.
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  So then that's when I knew it was done, because before that,
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  I was like, I ain't seen no celebrities come through the neighborhood,
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  you know what I'm saying?
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  So that came from, then my mother, she ran her, that was the same year,
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  was it, 98, 99, she ran the camera for my arms, my renaissance,
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  and then she was able to take it back,
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  and I was picking the camera up, and I was taking it to school,
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  so then she ended up paying it off, so that was like my introduction,
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  to like, filming my friends, and then I shot a little movie, you know,
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  just like that back, you know, I'm not in the hospital.
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  Did you freeze up? No, I'm not.
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  Okay okay cool so yeah so that's how you got started with picking
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  up the camera and stuff all like that so let's flash forward
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  now it's like when we first met it's 2018 2019
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  ish something like that um yeah and you're talking about you were just talking
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  about at the time this movie that you had you make it and stuff all like that
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  tunnel vision how did the idea for tunnel vision it come about?
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  Some certain things at that particular time in my personal life.
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  So I was telling you, I had this little chippy statement, I married from Washington.
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  So when I got on a plane, I was flying to Seattle, and I started writing my
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  ideas down. That's how I started.
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  Then I started to realize I had a whole story and had these pieces together.
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  Yeah. So you didn't, like, you're not like a traditional, I guess it was to
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  say, quote, a traditional filmmaker from the standpoint of going to people go
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  to film school and stuff like that.
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  What was the process like from you, from the film, just being an idea to now,
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  okay, I'm trying to write out the script.
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  Was writing something that was familiar to you, or was it something you just had to...
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  Kind of yeah I said I said that one it was a,
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  I can't remember exactly on the book, but he was like stripping for dinners,
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  and had to look at it, and then, you know what I'm saying?
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  I could pretty much, you put me in front of it, you know what I'm saying?
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  I had to edit on my own, you know, I had to edit on my own.
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  But as far as the story, it's just like, I had to just interview the other day when I watched it.
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  They said, like, we'd be back in comedies. They said, if it's funny on paper,
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  that's how you know it's going to be funny.
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  Real life. So when I would read what I wrote, I had a story to tell.
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  Then I just had to figure out how to get the other things in there.
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  I just, mind all this amount, bro, and you can't work. Yeah.
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  And so was it challenging for you? Like, trying to figure it out on your own?
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  Yeah. Yeah. In that first film, it was like 8, 9, it was like a whole other country in that film.
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  So it was like putting the bread together and the resources and all that stuff to make life.
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  And then I was getting a lot of the boys outside of that.
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  But the only people that really pop the female, you know what I'm saying? The female's a film.
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  You know what I'm saying? But everything else is not his.
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  Yeah, that was the next thing I wanted to get it to talk about.
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  Let's talk about, I guess, the actual making of Tunnel Vist and stuff like that.
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  First off, tell people what it's about.
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  I don't want to say necessarily it's your life story, but it's a story that
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  you've been through. Yeah, personal.
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  Tell them. We didn't have a love slash hustle story. It's a black guy that was
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  hustling. He got caught up in some BS.
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  So now I've got to figure a way out to BS. But why? He was hustling.
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  I plan to feel a good plan.
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  Okay. and so with that like i said outside of the the negative input because
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  that's always that that chitter chatter stuff like that one thing you had you
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  had mentioned was that the the the women,
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  was you know mostly supportive of you and stuff like that and that's one thing
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  that i didn't notice when i was watching the movie that there was a lot of there
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  was a lot of women a lot of beautiful women up there that that was just like
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  throughout the movie yeah you know you had your partners every now and then
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  but it just seemed like your main clientele throughout the movie was women.
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  I want to know, was that something one, was it intentional or was that just
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  how it happened to be to where like, you know, most of the people that was supporting
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  the film from the start was just the women.
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  You got men with more so that believers are not believers.
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  That was the basis of the story. It's a guy.
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  That just had an all-female clientele. And he had issues because of that thing
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  that he couldn't even really see because he was so focused on,
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  It's like, you know what I'm saying? Stuff that you really go through.
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  You're so familiar. It's something you can't, you gotta try to black out.
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  Black out there, but it's always still there. You know what I'm saying?
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  That was really what the film was about.
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  Yeah. Yeah. When I went back and like re-watched it, the whole idea,
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  like with the tunnel vision and stuff like that, like, I got the,
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  you know, the meaning of the title, stuff like that.
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  But they like, when I go back and watch it, cause I'm all like,
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  look, I'm like, yeah, he does have a whole lot of clientele,
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  you know what I'm saying?
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  But because I went back and watched some of the interviews that you did previously,
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  too, you know, and I was all like, yeah, he does have like a lot of like female
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  clientele, but it's not like these are women that he's sleeping with.
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  You know what I'm saying? These are all strictly a business type of thing.
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  And that's where like it goes back to the extreme, like, you know,
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  like the tunnel vision, you know, so being able to have it to,
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  you know, stick it to a goal, stick it to a goal in mind and not let another
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  distractions get in your way. It's that discipline.
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  Because they was there, man. Those extractions were certainly there,
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  man. They were surely there, bro.
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  That was the whole point, bro, to tell a story like that. Where it is...
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  But it was a whole bunch of things in there that actually are on the streets again.
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  Thanks for that. You understand how to see if you understand actually.
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  That's what I fully understand what you got going on.
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  Yeah, yeah. No, yeah. Exactly. Exactly. And then so,
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  one thing you did do throughout making the process
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  of like i said with you being like the filmmaker you being the producer dark
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  you went to all these places because this place is it's tunnel vision movie
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  it jumps to a couple of different locations even outside of california shoot
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  even outside like i went the u.s or you went to germany i think it was yeah frankly yeah,
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  so what was it like traveling to all these different places as like a filmmaker
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  it's not like I'm going there to vacation or anything like that.
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  I mean, of course, you're going to go through some sightseeing and stuff like
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  that. It's like, I'm here now. I might as well.
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  But, you know, you're there to make a movie. I got a job to do.
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  So what was it like, you know, just that anticipation?
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  Like, shit, I'm a filmmaker. Like, I'm literally traveling around the country,
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  man, making a damn movie.
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  It was fun. So, I never told this, but I got a little brother in a movie.
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  And we got We had just went in a film, this is right after Nipsey died,
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  it's like probably the weakest that he died, so we're going to go film this mural, it's him move.
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  And we get into the car, right, he lead me on the freeway, right,
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  he lead me on the freeway, right, so he lead, so now we're not from Southern California, right.
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  And let me say that when we get to the Uber or something, whatever, to get the help.
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  At this time, we're the same with the porn star, right? So, I was trying to
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  get in the movie, I ain't gonna say her name, I'm saying.
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  I was gonna get her in the movie, so, that night, I ended up going to the,
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  she said, like, somewhere in Hollywood, I ended up going and hanging out with
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  her, and then she gave me a lot of games, so,
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  once I went to you, if I had some dopey chances, you know what I'm saying,
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  even like when I was going through personal stuff, I was still having both moments
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  so I was pretty nice that happened in Los Angeles.
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  That's interesting and so of all the places that you did go to travel one I
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  guess tell everybody all the places that you did travel which one did you think
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  was probably your favorite,
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  Sacramento, Los Angeles Seattle, Washington Phoenix, Arizona Atlanta,
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  Georgia Baltimore I can't think of the name of that It's not Baltimore.
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  It's like right by Baltimore. I can't see your name. I'm like, right.
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  It's like one of the nicest cities in America. Memphis, Tennessee.
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  I felt like something missing. Memphis, Tennessee. There's a lot of cities, bro.
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  It was a lot of cities. I was like, I was like, that's what's up.
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  And he went everywhere. Yeah, Franklin.
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  It's my city then. Yeah. And which one was your favorite?
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  I don't have one. I had fun. I had fun. I was saying. Everywhere, that's what's up.
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  Because all the girls the same that the girl she was the one in there with me
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  you know what I'm saying helping me film this in Seattle so I had fun bro you
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  know what I'm saying I had a lot of pleasure,
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  and so like I said it was it was a big cast a lot of people a lot of movie parts
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  and stuff like that what was it like trying to,
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  get these people on board to be a part of your movie did you do like some sort
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  of cast a call or were a lot of these people are just people that you happen to have known?
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  So for example, like, so that is.
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  And I was just now trying to figure that I see these two girls,
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  they've got a call, and I remember looking at them, I was like,
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  one of them, one of them definitely fit where I already got busy,
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  but it's particularly the same in Vegas.
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  So I had reached out to her, and then she was like, so I got like a month,
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  get familiar with it, and then I wanted to decide that's pretty easy,
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  to get familiar with the character. and then I go.
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  And then so.
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  Like I say with all the stuff that you did with the,
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  with Tunnel Vision and stuff all like that it took about two years for you to
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  get to like make it like that was from the like filming it and then also the
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  like the editing of it yeah okay yeah that's what was,
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  did you always know that in your mind that it was going to go to 2B?
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  Nah, see, first I put it on YouTube and,
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  as I was trying to find a distributor. And once it got to like,
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  I think some thousand views on YouTube, they flagged me.
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  They started flagging certain songs, saying I didn't have permission to be songs, right?
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  So what they do is, when they flagged, like I said, this is never already got 17,000 views.
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  So now they're not gonna allow me to montage. So they give you like 24 hours
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  to distribute, you know, so now you gotta put some proof.
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  So I got all the emails on proof for these records, but it's one record on my
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  pocket, I just got murdered.
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  He got murdered right before he came out. So I never had a chance to get an email from him.
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  So now I can't prove that I got commissioned. So I had one of certain things like that.
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  There were such songs that I had commissioned him for, but it was under a different name to them.
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  That's why I don't promote YouTube so,
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  while I was going through I was getting passed up by every distributor someone
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  told me they liked the film but it wasn't the agenda they were trying to push
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  you know whatever that meant,
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  and then I found people of Detroit in the land and,
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  that population ever since okay cool cool cool and so getting on to was there
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  any type of like problems or like headaches,
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  dealing with to be as like a now
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  that like as an independent filmmaker or stuff like that what's what has your
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  experience been like having your film on to be how do you go about now promoting
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  the film and what was your process like to get the word out about the film that's
• 16:52
  that's the part that you gotta learn backwards because the promotion is most important,
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  and for you to win that but when you win that we learn all the things.
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  But to be you gotta have a whole lot of support,
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  make a profit but it's possible well as
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  far as advertising I do it in there
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  I do you know 24 hours a day promoting that's
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  what I got going on you know what I'm saying and that's what I would buy as
• 17:20
  any filmmaker out there you have to you can't just assume somebody to put it
• 17:24
  out and just go you know but but the ones that don't work like getting better
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  stay constantly pushing your products and so with that now you got the total
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  vision it's in the it's in the it's in the wraps and stuff like that.
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  It's on Tubi. It's on YouTube. People go watch it.
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  That's kind of like your colleague card out, kind of like your business card
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  out when you step into places and stuff like that.
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  People want to know your resume and stuff like that. Now you got a little something extra.
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  Like, no, I have an accomplished filmmaker.
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  I made my film. I wrote, directed, edited, produced it.
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  Now it's out there for a piece of art now that I can make money off of.
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  So now you move on to your next project, which is a film called Arrogate Losers.
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  And this movie is more like a I guess you know like I don't want to say like
• 18:12
  a crime film but it's more like a thriller type of movie and stuff like that,
• 18:17
  yeah yeah yeah but Arrogant Losers does this follow the same genre to me it
• 18:23
  seems more like a comedic drama type of thing like a romance comedy you know like,
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  he wrote that.
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  He wrote his film. That's cool. He wrote his name.
• 18:39
  Oh, he wrote the film? Yeah, he wrote the film, yeah. Okay, so that's cool.
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  That's what they don't want to ask from that.
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  Because you wrote Tunnel Vision, but now you have somebody else.
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  So your team is just getting bigger, kind of.
• 18:55
  Your outlook is to be real there. That's what's up, bro.
• 18:58
  That's what's up. there's a whole lot less stress to leave if you like somebody
• 19:01
  else they had that responsibility so now with I'm sorry what'd you say?
• 19:08
  I was trying to say yeah yeah yeah most definitely so now with Paragalusers,
• 19:14
  what's the roles that you're playing with this movie?
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  So I'm the main character named Warby aka Hulk so Hulk basically he's a security
• 19:25
  at the mall and he has two different baby mothers he has a black baby mother
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  and he has a black one the black one has his oldest child,
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  so the black one has a son and the spank has a daughter the black baby mother
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  is she complains for money she's real educated she's got a good job she's very positive,
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  his teen baby mama she like just with the shit she just do anything she's a live life.
• 19:57
  And then he got another part, he got a best friend. At first he said,
• 20:00
  I'm all with him. I'm going to contribute everything right. But he's struggling to graduate.
• 20:05
  He's got to be somebody to graduate. He got another part of the dead.
• 20:08
  Played a week. Football.
• 20:10
  Retired for $20,000, $50,000. His wife, unfortunately, took up his money.
• 20:14
  So now he's back struggling to deal with him.
• 20:16
  This friend that's stuck in the ghetto trying to figure it out.
• 20:19
  That's the story here. And this movie, does the whole thing take place in the
• 20:24
  Bay Area? Yeah, Oakland.
• 20:27
  Okay, I'll show you. Oakland's got a dope, well, the Bay Area in general,
• 20:30
  but Oakland's got a very dope filmmaking scene.
• 20:34
  The Bay Area in general is very dope for arts and stuff like that,
• 20:37
  but just being the filmmaker, media, and stuff like that, you just gotta take
• 20:41
  a certain appreciation, especially for independent, the independent filmmaking
• 20:45
  scene and stuff like that.
• 20:47
  Everything's very, like, Bay Area has the independent music grind and stuff
• 20:51
  like that with the E-40s and the Two Shorts and that even now they're just with
• 20:56
  the LaRussells and the I.M. Seuss and all that good stuff.
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  But it's the same way with filmmaking, man. It's the same way with filmmaking.
• 21:03
  You just kind of follow in that tradition of Bay Area filmmakers.
• 21:10
  And so with this one, this one is also going to be on Tubi?
• 21:13
  Yeah, it's going to be on Tubi too, yeah. Okay, dope, dope, dope, man.
• 21:17
  And so with that one i'm not sure how to be
• 21:20
  works with like when it comes to like releasing stuff like i've
• 21:23
  heard people say that like they don't give you a specific release
• 21:26
  date they just kind of you just kind of have to check to see yeah check when
• 21:30
  he brought it yeah yeah that's how it works that's how it works so like with
• 21:35
  this movie how are you going to go about kind of you know premiere i think you
• 21:38
  said that i don't know if you want to give away like the you know the premiere
• 21:41
  date or kind of like what we was talking about um off podcast well we,
• 21:46
  We plan on doing like just an actual premiere to invite people out.
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  Yeah. 420? 420, yeah. Sure. So 420, that's a good day. 420. Area losers.
• 21:56
  And that's going to be the Bay Area.
• 21:58
  For sure. Because it's a marijuana movie too, so.
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  So it's like, you know what I'm saying? Well.
• 22:05
  Partner earlier we gotta we gotta start yeah you know so again you know let
• 22:11
  them know it's coming so about that when people see it on there they know to
• 22:16
  watch it you know what i'm saying yeah,
• 22:18
  yeah yeah and definitely then like i said once it gets close in that day two
• 22:21
  as well man i said you bring you and your partner back on and we could you know
• 22:24
  run this back again most definitely,
• 22:28
  and then so was there anything else that you wanted to let people know about
• 22:32
  like with either Arrogant Losers or with Tunnel Vision?
• 22:36
  Yeah. Because Tunnel Vision is on there right now, so I want you to check that
• 22:38
  out right now. Whatever you doing, put that on right now.
• 22:42
  As soon as the podcast is done with it, all that good stuff,
• 22:45
  you say Tubi, right? Because YouTube be playing games?
• 22:48
  Yeah. Please don't watch YouTube.
• 22:52
  Watch it on Tubi because YouTube be playing with the filmmakers.
• 22:55
  They be playing that funny money. So yeah, go to... Make sure y'all go it's
• 22:58
  funny because this is going to be played on YouTube.
• 23:07
  Go to Tubi to check out check out my man's movie, Tunnel Vision. Great, great story.
• 23:16
  You know, my email to write down whatever you're saying.
• 23:22
  So if I just reach out, just check that thing. Yep, yep, yep.
• 23:25
  And then be sure to follow him. Like I said, we have your IG handle right here
• 23:28
  below your name and stuff like that so people can see.
• 23:30
  If anybody's listening like on like the spotify or anything all like that spell
• 23:35
  out your social media so people can follow you real quickly yeah no problem
• 23:39
  instagram is c-a-l-i-b-o-i-j-u-b-e-t-e-6,
• 23:46
  my email is onevisionfilms46 at gmail.com o-n-e-v-i-s-i-o-n-f-i-l-m-s-46 at gmail.com,
• 23:59
  Facebook Facebook is at I mean Brown head on sure,
• 24:04
  well now like I said before I warned you before we do wrap up you know the Yeah
• 24:08
  Buddy podcast we always play a little game with them you know the guests stuff
• 24:12
  like that it's called Mount Rushmore and it's just basically simple where you just give,
• 24:17
  your top four,
• 24:20
  filmmakers that inspired you motivated you and they just give a little background as to why,
• 24:26
  alright So I would say, that's the loan for sure is number one.
• 24:37
  I'll tell you why, cause like even when I was a kid growing up,
• 24:41
  I used to watch rapese and all these stories, before I knew it was producing
• 24:45
  and I always loved the stories of how he put the black character in here.
• 24:50
  He told a lot of truth about history, you know what I'm saying?
• 24:53
  So I always respect that about him.
• 24:55
  The storytelling is dope, you know what I'm saying? And then Bell Gibson too,
• 24:59
  he's always a fan of, cause he did the same thing, he directly produced,
• 25:03
  you know, then you go back,
• 25:04
  get Bouncing Wilson, John Cena did I'm a fellow storyteller,
• 25:09
  and then I play Spike Lee.
• 25:11
  And then there's one guy named Jim Hill. He's an independent filmmaker that
• 25:14
  a lot of people don't know about him.
• 25:16
  I feel it. So I give it to them. Okay, what was his name again?
• 25:20
  Jamal Hill. Jamal Hill. Okay, cool. So we have Sylvester Stallone,
• 25:25
  Mel Gibson, John Singleton, and then DeMille Hill.
• 25:29
  That's a good, that's a very, that's a very, and who?
• 25:33
  Spike Lee. Oh, and Spike Lee. Okay. Cool, cool, cool.
• 25:37
  No that's a good that's a good that's a good line of people very very very diverse
• 25:42
  i like how you had a you know the independent person out there because i said
• 25:44
  independent filmmakers,
• 25:46
  that's key man because a lot of people people don't understand like probably about 90 percent,
• 25:51
  of filmmakers out here are independent because you know they just have a bigger
• 25:55
  budget to work with but if you're working outside the studio system right you're
• 25:59
  in this so you you want that us leave on that you want that grind and then um
• 26:03
  oh there's one more question that i had about tunnel vision,
• 26:06
  I don't want to give too much away, but one thing I did, I don't know if something that did happen,
• 26:10
  but the filming of it, I kind of,
• 26:13
  was like, I would say the worst thing in,
• 26:16
  it felt like the camera quality and stuff like that kind of picked up.
• 26:20
  I was looking like the helicopter scene that you had shot. I was just looking
• 26:26
  at this. I was like, man, he had that shot.
• 26:28
  I was like, did he shoot this movie in sequence?
• 26:31
  The end, I was like, oh, yeah, he stepped up the quality. He's like,
• 26:35
  that's the only way they're making this movie and shit.
• 26:37
  Yeah, what was that? I was having a bit of a lot of stuff.
• 26:48
  Okay, I was looking at that, I was like, all right, cool, cool.
• 26:50
  I went back and rewatched it, I was like, oh,
• 26:54
  I said, like, just to say back to watching it, actually that,
• 26:57
  studying the movie, trying to make little guesses on, like,
• 27:01
  you know, the filmmaking process, stuff like that, all right,
• 27:04
  yeah, yeah, that's always a cool thing to see, just from a filmmaker's standpoint,
• 27:10
  like, visually seeing the growth,
• 27:14
  that the filmmaker went through for making the movie.
• 27:18
  Right. So, yeah. It's fun, though.
• 27:22
  The process from the minute to the end is, like you said, you work on people
• 27:28
  and you get off each other. You know, it's just a dope process for me.
• 27:33
  Yeah, I always say, make a movie, just like
• 27:36
  you were talking about this stuff like that but making movies
• 27:39
  is like a science experience bro like you just
• 27:42
  you didn't come up with a guess like man i think that if we do this
• 27:45
  man that we're gonna make this and then and then you just test it out different
• 27:49
  camera angles different actors whatever it may be but you you at the end of
• 27:54
  the day you just come up with this big old science experience like what it is
• 27:58
  that you just presented to people like this is what it is it's art it is.
• 28:07
  And then especially when it comes to process of like filmmaking because like
• 28:13
  it's really a team sport animal like like you like you understand you know like
• 28:18
  if you played all these different roles and stuff like that you understand like
• 28:22
  dang this is a specific role that is never a specific person playing you know.
• 28:29
  And when you have to play that really online i guess i'll put in this role but
• 28:32
  it's still like i can't I can't be an editor with a mind state of the lead actor.
• 28:38
  I can't be the lead actor going in with the mind state of the writer because
• 28:42
  I like it and it just doesn't play.
• 28:45
  You're right. Because you're playing around different hats. So you got to be
• 28:48
  a setback tech mirror. You got to think like a director at that point.
• 28:53
  You got to think like a director at that point.
• 28:57
  Break. You got to have like seven different mindsets or whatever,
• 29:00
  you know what I'm saying, to pull it off.
• 29:02
  You got to think different too. You know, what did you say? It's fine,
• 29:05
  bro. To me, it's, you know what I'm saying?
• 29:08
  Bro, it's in class. I don't know. It's something that like, you got to be there to make it happy.
• 29:15
  Because like, you be in like some place like, it's like raining and stuff all like that.
• 29:18
  It's raining. Like, it's really raining. know yeah you you have the fun with
• 29:23
  it and it's just like so that anybody been your filmmaker man don't be don't
• 29:30
  be scared if you ain't got the fun now or if you like oh my story,
• 29:35
  whatever it's all like bro just go out there and just have that experience of,
• 29:40
  what you got yeah right because you never know you never know my friend that
• 29:48
  somebody might like, you know what I'm saying? It's sexy.
• 29:50
  You never know what I'm saying? Mm-hmm.
• 29:54
  You never know. And you never know where you're going to inspire.
• 29:56
  You never know where you're going to inspire and motivate that little piece
• 30:00
  of content out with your art out there and stuff.
• 30:04
  Appreciate it. Yes, sir. Yeah, dope show.
• 30:08
  Bro, that show, man. I appreciate you having me on there, man.
• 30:10
  No, that one, man. I appreciate you, brother, trying to do, man,
• 30:13
  being a part of the show, man. Like I said, it's a beautiful thing.
• 30:16
  Like I said, we'll be at Meta, better than the woods in Humboldt County,
• 30:21
  one of the only black people in that city.
• 30:23
  You know, he was talking about that movie and then flash forward to,
• 30:27
  you know, it actually being made and, you know, down to Sacramento,
• 30:30
  seeing that the premiere that you have, seeing the hustle that you put into
• 30:35
  really, the care that you put into making the movie,
• 30:37
  like, how would, you know, how you've taken it from there.
• 30:40
  Like I said, it's been an honor to have you on my show, brother,
• 30:42
  and like I said, once an arrogant loser comes back around, man i say you know
• 30:46
  tap it with your boy and we'll get you back on the podcast,
• 30:51
  i appreciate it i appreciate you my god yes i'll catch you next time.