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Robert Parham on the Yeah Buddy Podcast · Yeah Buddy! Podcast

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We are hot. Yes, yes, yes. What's going on, world? This is your man,
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Buddy Romming, and we are back at it with another episode of the Yeah Buddy podcast.
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And this episode is brought to you by the Comedy Cash Cow competition.
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So if you want to see 25 comedians compete for their chance to win a thousand
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dollars and star in their own short film, you need to go to www.comedycashcow.com
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because tickets are available.
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Available the whole competition and event is going down may 25th in vacaville
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california at the journey theater y'all so go get those tickets right now asap
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see these comedians battle it out for the title of the cash cow winner we're
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gonna have a whole bunch of.
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Entertainment people up in there we're gonna have some agents some some film
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commissioners people from iheart media is going to be a real dope networking
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event so y'all please go out and support it and let's get into this episode
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y'all like i said this is the yeah buddy podcast just Just like every single episode,
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I always try to bring some of my friends in the entertainment business,
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give us a chance to chop it up, catch up, see what we've been going on, what we got coming up.
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And this episode is like no other. Y'all, this episode we have filmmaker.
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Award winning director, man, martial arts expert, man.
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This dude has movies to be. He's really out here grinding, doing his thing,
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putting on for like the independent filmmakers up here in the Bay Area.
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He's a shit Mr. Do it all when it comes to filmmaking. making i'm gonna
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try to make it live and make it loud for my good friend mr robert parham right
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here at the yeah buddy podcast thank you man thank you great
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introduction man i try to i try to do my research i try to do my research and
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shit like that i try i try yeah man so we are familiar with your work but i
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think we got formally introduced at the sacktown movie buff film yeah that's
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right that's right i saw you there and uh we connected and we had a great time
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at that movie film festival Yeah.
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Yeah. So what what what did like like just recap it?
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What did you take away from the film from like the mixer all the way to,
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you know, your movie premiere?
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Well, what I took away is that there's a lot of talent here in NorCal.
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Some of my friends call it Hollywood North and people are underexposed here.
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Yeah. So that's what I took away from. And they do some great work.
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The short films and the feature length films were just phenomenal.
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You know, so, yeah, that's what I took away from. Yeah, there's definitely.
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Like I said, people call it Hollywood in the North. There's definitely a film
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community up here where, like I said, the one thing that I really took away from.
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Especially Friday night at the mixer was like, that's the first time I seen
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so many different filmmakers, just like all in just one area.
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And there's like people like, like actors, directors, producers,
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you know, DPs, PAs, just everybody just over just like here in this one, with this one area.
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So just seeing everybody being able to put like their egos to the side.
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Right, no agenda, just mixing and having a good time. Yeah, mixing and mingling
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and like, you got, you're doing this, you're doing that. Okay, cool.
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You know, cause sometimes, especially up here, I feel like,
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I mean, you got to have an ego in this, in this industry, but like,
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sometimes it kind of gets in the way of people actually helping each other out
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and just getting, just getting to know people in general.
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So just being a part of that, that mixer was definitely a good, a good experience.
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And like I said, I got to meet you and the whole, your whole entire,
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your whole entire production team.
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Most of them. Yeah. Yeah. Most of them. Yeah. Yeah. Yeah. You guys roll pretty deep. Yeah.
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But then we segue into sunday right
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where you had the your movie was shown
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at the sacktown movie buff film festival called uh
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mad as hell did you like it i'll be completely honest
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with you i had work i had work that day so i got i
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got i came i got it there just in time for the
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uh for the award ceremony so you missed the movie i missed
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i missed everything i'm getting getting off yeah i did go
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back watch the trailer i was trying to watch it on to be on my way up
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here and stuff like that but no yeah i do gotta apologize for that
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i did i did i did have that that that day we call the job yeah that kind of
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gets in the way of uh pursuing this type of stuff but no i definitely didn't
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want to check it out though well i want to shout out to the other filmmakers
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that had their features shown as well david john foster had centauri 29 and he won a,
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award for special video effects.
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And then Simp won Best Picture by Tremaine Hale.
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Best Picture and Best Actress. Yeah, yeah, yeah.
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And then Mad as Hell, we came in with Best Director, Best Supporting Actor,
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and Best Supporting Actress. Yeah. We did well.
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No, yeah, y'all came away with some trophies. Like I said, that part I did see.
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You have won the Best Director. You're right.
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So what did you take? Did you know you was going to win? No.
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Yeah? No. Did you have any type of like clue indication? Like just like,
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yeah, this is, this is my award.
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No, no. I, I let the work speaks for itself.
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And if the community chooses to recognize it as such, then that's a blessing.
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Yeah. You know, I'm, I'm more about the work and the people involved in the work.
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I don't look for awards or accolades, but I'm open to them if they come my way. Yeah.
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So what was that feeling like? Like I said, first off, anybody that didn't see,
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it was premiering at like the IMAX as it was.
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So that's like just that big, big screen. I know it's premiered at like,
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it's been shown at film festivals at like Las Vegas and stuff like that.
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Were you, but like seeing it on like the IMAX, just like. Yeah,
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I've never seen it at IMAX. So the IMAX is six, the screen is six stories tall.
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Yeah, yeah. So I've never seen it at the IMAX. You know, I've seen it in other
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theaters and this thing.
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And so it was, I was like, wow, I was a little overwhelmed.
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I mean, we've had other movies that we have made that played at the IMAX,
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but I never saw Matt as Hellier.
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So it was pretty cool. Nice.
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And so once when Kier had announced your name as the winner,
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Best Director, what was going through your mind?
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Wow. You know, it was wow, because it was a tight.
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The other two directors that were in competition were just as deserving.
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I was just flabbergasted, you know, our, our, our movie collectively has won
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34 awards throughout the world.
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And it's just, it just says a lot for the cast and crew and all of the hard
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work that they put in. Mm-hmm.
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There it is. Yeah, man. What goes into making an independent film?
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Because it's not a studio. You know what I'm saying?
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It's literally like you're putting your all into it.
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What goes into it? And we'll just talk about it right now specifically for Mad as Hell.
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But I know you have a long resume of independent films that you have created.
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Created what what goes into building the
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creating an independent film starting from like
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just building the team because i know it's like you because it's
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mayhem productions right and it's so eric james
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myers and then you how did that what how did y'all two get together and then
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how did that you know blossom to like what it is what it is now it was gonna
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be i met jim at a film festival that they had in Vacaville called the Vacaville
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International Film Festival. Okay.
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And we just connected from there. And we decided to start making our own feature films.
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So, we took his last name and my last name, May and Ham, May and Ham Films.
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And our first production was Jackson Bolt.
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Okay. We started, myself and Fred Williamson, and R. Marcus Taylor,
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and the hosts of other talent out here in Sacramento.
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And then we just moved on and he would make a movie under the production.
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I would make a movie under the production. He would make a movie under the production.
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And it just grew from there.
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When you do independent films, you attract a lot of talent behind the scenes
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that people just, you know, because people appear they don't have the opportunity to use their skills.
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Yeah you know so everybody had the
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opportunity to work on our film whether you
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were a dp or pa or a
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costume designer or makeup or hair or what have you so you know we try to keep
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it as simple as possible because it's an independent film yeah and we don't
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have big budgets like hollywood and the set and the other and make the best
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product we can yeah because i had nakia bryant on an episode previously.
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She had one, also she had one best supporting actress at the Sagtown movie Buffalo Fest.
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And that's what she had talked about is how your approach to filmmaking is you're
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very much like, you know, you're giving people work, giving people jobs,
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giving people opportunities, stuff like that.
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Where does that mentality come from?
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One of my mentors when I moved out to California was Jim Kelly.
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And you might remember Jim Kelly from Black Belt Jones, Opposite Bruce Lee and
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Enter the Dragon. And he told me a long time ago to own your work.
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Meaning that don't let a studio dictate what they want you to do.
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So I own my work. And when I own my work, I have the opportunity to share it
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with other people, whether it's for them working, whether it's people exploiting
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their or using their talent.
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It also keeps me sharp you know as as a director as an actor etc and so forth
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as a producer so that's where all of that comes from that's where all it stems from i i hate to see,
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for example the people i call it the black renaissance era yeah yeah some people
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call it blaxploitation a lot of those actors aren't working anymore yeah and
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why is that and the The reason is when Hollywood is done with you,
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they just toss you to the side. They done. It's an industry.
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It's like a factory line, man. And once you, yeah, once your time is up,
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man, they just. They just toss you to the side. That's it. Now we need the new model.
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Exactly. Exactly. So when you're independent, you can make movies infinity, you know?
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So that's the route I chose to go.
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Awesome. And then so like I said, with being an independent filmmaker,
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not having the big budgets, not having to worry about the studios,
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the thing that you had just really just stuck to me is how you said Jim Kelly was like your mentor.
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I feel like as if you're going to be like, take that independent route,
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that is the most important thing that you do need is mentors.
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You need to have somebody who
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has accomplished the things that you want to accomplish in this industry,
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or maybe even not, you know, at least tried or, you know, able to learn from
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not only their success, but learn from their failures and be able to apply it to yourself.
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How important was it for you to have strong mentorship?
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It was, it was, it's very important because, you know, when I first started
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in this business, I started out as an extra, you know, and so you're behind
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the scenes and you see how everything works and you're like,
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oh, I want to do that. I want to learn how to do that.
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I want to, I fortunately was connected with Jim Kelly.
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And then, you know, I have my cousin, Gloria Hendry, great mentor.
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My other mentors, Fred Williamson, great mentor. Look at all that he's accomplished.
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Art Camacho, great mentor, Ron Van Cleef, great mentor, Conan Lee,
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great mentor, and I have other mentors, but those are my people who will take
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the time, take, Robert, do this, don't do that.
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Yeah, yeah. Watch this, say this, don't say that, you know, work with this story,
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work with this camera angle, et cetera, and so forth.
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So I learn from them. I stand on their shoulders.
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Yeah, that's, yeah, that's definitely the, like just having
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somebody who because you can't find the mentor your
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mentor's got to find you he's got to be able to look at you and say okay this
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dude he just needs a little bit you know experience just somebody in his ear
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and then he'll be he'll be he'll be cool he'll be perfectly fine i know like
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speak like doing extra work man like extra work i tell people is like.
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It's it's like entry-level work into this industry you know it's not something
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that that you wanna get tied to like forever.
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So just having somebody who could show you how to.
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Take you from being an extra to now having a job
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in the in the in the entertainment business because
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that's really what it's about it's not i mean being the
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the movie star and stuff like
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that is such a small percentage of that but then like when
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you look at like movies and you tested this like when you
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look at movies and you have like those end credits like the actors are like
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just this portion of the you know of the credits and then if you're talking
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about like the leads the the stars it's like this but then there's all these
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other jobs and all those jobs is just basically opportunities for you to still
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be in the game be in the mix and just really just to pursue,
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and keep chasing your dream and turn it from what we call as a dream to now
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reality into a career right and so how did you go from being started off as
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an extra to now doing like you still act but you're also directing your own
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films. Well, it was a lesson learned.
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I, like many other actors, auditioned for a role, and I didn't get it.
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And then I saw the movie later on. I'm not going to name the movie or call anybody out.
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And the acting was absolutely subpar. Yeah. Yeah, yeah, yeah.
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And I said to myself, you know what I'm going to do? I'm going to buy a camera
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and a computer, and I'm going to do this myself.
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And that's right around the time Jim and I connected. So that was the...
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The jump of my acting foray into this business, real acting foray and directing,
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et cetera, sort of into this business.
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So if you want something done, you got to do it yourself.
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Yeah. You know, that's, that's what happened. Yeah. I mean, isn't that the worst,
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the worst experience ever, bro?
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Like when you like, you go into it and especially when you like,
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you feel like you killed it. Yeah.
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I did it, man. Yeah. Whoop, whoop. And then like, you know, you don't get the
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part of you like, all right, cool.
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Like, I understand that Noah's part of this business, but then,
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like, when you see the film or commercial or whatever it be that you auditioned
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for, you see the person that they picked and the person looks just like you. Yeah.
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But, like, you know, you're more talented than this dude and you'd be all like, fuck.
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Yeah, damn. You'd be like, all right.
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All right. I got to do something. I got to do something now.
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That's one of those when one door closes, another door opens.
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Yep. Or if one door closes, you make your own doorway. Yeah,
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you make your own doorway.
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Yeah, you kick in the walls or something. Because that's what they also got
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to understand is that when people call this the movie business,
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the film business, like the longest word there is business. And it's the most important thing.
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So you can't take those no's. You can't take those rejections personally.
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You got to take it. I say don't take it personal. Take it professional.
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Right. Anytime somebody tells you, no, says you're not right for this part that
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you just got to take, you just got to make your own part.
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And O means another opportunity.
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Yep. Yep. Next opportunity. Next opportunity. We're going to keep this party
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rolling, man. So keep this party rolling.
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So now with you jumping into being direct director, first like short film experience.
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Do you remember what that was what that was like let me see i i directed a short film called.
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Called oh gee whiz what was the name of that short film
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i had it on your imdb yeah you might have to look it up because yeah because
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we was just talking about this me and the kid was just talking about that the
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last time the kid was in it yeah yeah yeah it was like buster no that was that
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was the second one that was i didn't direct that oh i was one of the producers
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on it but it It was called, um,
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uh, it wasn't the difference, was it? The difference. That's it.
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So that was the first film I directed. Short film. Yeah. That's it. That's it.
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Ali D'Souza, who was my acting coach, we had a film club and one of the things
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we took away from the film club was make your own short film.
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Yeah. So I wrote a script, my first script, so to speak, and we shot it and
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it did well. It did pretty well.
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There were some challenges because I really didn't know what I was doing. I learned.
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You said Ali was your acting coach? Yes, Ali.
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Awesome. Yeah. Okay. I went to one of his movies that he had on.
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The i think it was the crest theater like a long long
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time ago and then i think that's that's the first time i became
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familiar with his work but then i was just
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talking like it's it's it's crazy just like how
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small of a community this
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is and how yeah everybody is everybody
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is connected in this game so being able to
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like say being able to have the opportunity to catch up with him at
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the sacktown movie buff film festival was a dope experience but like i said
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just seeing the how he played like i said he was it was his movie you know this
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this this big entity but seeing just how much he's part of a team right you
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know how important is it for you,
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the process of or how important it
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is to have it to have your team build up your
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team and and what is your process of bringing
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people out because i noticed that you do work with a lot of the same people well
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i mean it's it's a don't recreate
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the wheel if you look at martin scorsese he's always
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working with robert de niro joe pesci al pacino
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they're in countless movies together if
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you look at what's that actor's name adam sandler he's got the same people in
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his movie i even go back to one of my idols bruce lee he's got the same people
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in all his movies yeah So that must mean that they have a cohesive team because
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they work very well together.
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I decided to replicate that. So we got my lady, Elise Hollywood Evans.
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We got Amy Naylor. We got Nikki. We got Gary Turner.
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We got Jim Meyer. We got Vert Wright.
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Once in a while, we'll use some other people that come in, Blaine Santos,
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Freeman Williams, you know, and we keep the team going.
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Keep everybody motivated and why change
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yeah why change that's funny like as i said
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like probably about like 80 of those people that you had just named
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i know you know i've worked with us to some
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type of capacity and stuff like that so this this this
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field community up here is so crazy man because like how we
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you said earlier some people call it hollywood north i feel like it does really
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have the potential to reach those type of heights because we are so connected
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everybody is just It's about mostly just everybody being on the same page of
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understanding that we're just trying to, one, create art, but then eventually wanting to,
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I mean, you're going to have to make some money off of these things.
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Right, right. But the art comes first, and then the team building is the most important thing.
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Right. You've got to have a, if you want to be successful in anything,
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but in this particular case, independent filmmaker, you've got to have a great
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team because you can't do it by yourself.
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I didn't do all of this by myself. So, you know, I was blessed with a great
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team. Yeah. You know? Mm-hmm.
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And then so besides also doing the filmmaking, you also have a background in martial arts.
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Yes, I do. I got beat up and I was in I think I was in the fifth grade. I got beat up by a girl.
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Mylene DeJouin. Mylene, if you watch and I'm mentioning your name.
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She just did it because she had a crush on you. That's why.
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That's why they do it. They don't understand back back there where they are.
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They beat you up because they like you. She beat me up because I talked about her brother.
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She hit me with my own lunchbox. And when I got home, after my dad finished
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laughing at me, he was involved into the martial arts. So he taught me martial arts.
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And my cousin took me to some martial arts studios in New York.
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And then when I left New Jersey and joined the Air Force, I ran into gentleman Dr.
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Alonzo Jones, who became my primary instructor, who I ranked up on.
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So I've been doing martial arts since I was about nine, 10 years old.
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I'm not going to tell you how old I am.
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It's been a minute. I've been doing it for a minute. Yeah, I've been a successful competitor.
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Competitor i parlayed that
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into kickboxing i used to box as well and then
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kickboxing i won five world titles and five actually technically
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six world titles and five different weight divisions and i
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kept going up in weight not to test the champion but because i have an affinity
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for ice cream so i couldn't move up to the next weight division and i had a
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really good manager so yeah there it is so what do you attest to take it like
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the there's a lot of discipline that comes and comes with martial arts.
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I mean, you know how to kick somebody's ass, but they teach you dope. Yeah. Yeah. They do.
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What kind of, how did that discipline with martial arts help you transition into filmmaking?
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Because did you always want to be an actor or filmmaker?
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I knew that when I was a kid, I wanted to be like my heroes that I saw on the screen.
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I wanted to be Fred Williamson. I wanted to be Bruce Lee. I wanted to be Jim
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Kelly, Ron Van... I wanted to be those guys. Mm-hmm.
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And when you're a kid, even though it's a movie, you kind of think it's kind
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of real life. So I wanted to be like them in real life. Yeah.
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Not knowing that would parlay into entertainment.
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So getting back to your question, the discipline allows me to focus on what I need to focus on.
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So from writing a script, I'm going to write the script.
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If I'm writing a script, editing, coloring, well, from this time to this time, I'm going to do this.
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From this time to that time, I'm going to do that. From this time to that time, I'm going to do that.
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It helps me structure and stay focused.
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Otherwise, I would be lost in my mix.
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I'm currently working on one, two, three, four projects right now. Five.
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Five projects right now. Six.
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I'm sorry. Busy. God damn. At this moment right now, six projects that I have
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to make time, allocate time to do.
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Otherwise, nothing will get done. Mm-hmm, you know, so that's that's what a
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martial arts discipline comes into and these all gonna be like feature films
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or two Let me see one two three four four feature films,
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TV show and a short film and one of those films is those that the cocaine Roach
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one of them is cocaine we gonna get into that a little bit because I was I,
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Seed the trailer for it, man.
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I see the Oh my word, I see the teleport, I see my man Marlon up in there,
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and I was just like, what the fuck is this, man?
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I was like, all right, yeah, we, like, when I texted you, I was like,
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is there anything you specifically want to talk about? I was like,
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yeah, coca-cola. I'm like, nope, don't worry about that. It's already covered.
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We're going to get into that in a little bit of stuff.
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Working with your heroes, that's something that I feel is something that's like,
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really kind of like goes under the rug, like where people don't really understand
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just the whole mystique of that.
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Cause one of the things that people say a lot of times, especially in this industry
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is like, you don't want to meet your, you don't want to meet your heroes.
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You don't want to meet your idols.
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Cause they're going to be, they're not going to be who you expect because just
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watching things from like the TV screen, you think that's who they are 24 seven.
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But I think you kind of had the opposite of that. Like you want to be like,
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you work like working with like Fred Williamson.
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My first introduction to him was on dust till dawn.
24:14
But like you have the opportunity to like work
24:17
with your heroes and like you're like
24:20
directing them you know what i'm saying it's it's it's an out-of-body experience
24:24
i was directing this movie snow black and there's a scene where ron van cleef
24:28
and cammy ferry are they're going over their lines and they're speaking to each
24:32
other and i'm going over the script with them there's a picture like like on
24:36
my Facebook page with all three of us.
24:39
And I had to step back and said, oh my God, I'm directing Ron.
24:47
It's like, oh my God. You know, I used to watch him, the black dragon.
24:51
That's what they call him. I used to watch him, you know, at the Adams movie
24:56
theater, the Paramount movie theater, the Newark drive-in, et cetera.
25:00
So seeing him on the cover of magazines, watched him fight in the UFC.
25:03
I was like, Like, I'm director Rod Van Cleve. Oh, my God. This is real. This is real.
25:10
Same thing with Lawrence Hill Jacobs is in Cocaine Roach.
25:14
I sat back. I was like, it's Lawrence Hill Jacobs.
25:18
I used to watch that guy. I used to really watch this guy and study him.
25:24
Oh, my God. I watched him.
25:27
One of the really, really good movies he was in was called, that's of late.
25:32
It's called A Chance in the World. So, I got to see him in that,
25:35
and he was excellent in that film.
25:37
You know, as well as, you know, the other movies, the Jacksons,
25:41
and you go way back to Cooley High, people don't realize he was in the first
25:44
Death Wish movie. I was like, wow, that's cool.
25:48
And he's so cool. Yeah. He's so cool. So down to earth. Yeah. Yeah.
25:54
It's always a cool feeling, man. It's just a good feeling in general where,
25:58
I mean, like I said, working with these people that you like,
26:03
that inspired you to be this.
26:04
And then when you meet them in real life, you're like, okay,
26:07
they are who I thought they were.
26:11
Yeah. Like I said, it gives you that validation, but then also that motivation
26:15
to keep pursuing what it is that you're doing.
26:18
Because like I said, you can just have one bad experience with somebody who
26:21
you looked up to as like a hero.
26:24
And then it will change your whole entire perspective. It will.
26:27
It will. I haven't had that experience.
26:31
I've just been blessed to work with some really great people.
26:36
You know, Eric Roberts, Vernon Wells. I mean, I'm directing these guys. I'm like, wow.
26:43
And they're really, really down to earth, really cool people.
26:46
You know, there hasn't, I haven't ran into anybody. Cinda Williams.
26:51
Yeah. She's like my sister. You know, I haven't ran into anybody who I deem eccentric.
26:57
You know, the original G-Man of hip hop had an opportunity to direct him.
27:01
I'm like, wow, this is so cool.
27:05
You know, these people are so cool.
27:09
It's so down to earth, you know, so it's just, when they say you don't want
27:15
to meet your heroes, I kind of disagree with that because I think meeting your
27:19
hero will motivate you, even if your hero turns out bad.
27:24
To whoever it is, to be an asshole. It helps you like, I can be better than.
27:30
Yeah. Yeah. Like I'm, I'm gonna keep doing what I'm doing, but I know that like
27:34
once the tables are turned, there's somebody looking at me for the perspective of like their hero.
27:38
Right. I know how to approach it. Cause I don't, I don't, I don't want nobody
27:43
feeling the same way I felt and stuff like that.
27:45
I mean, it just, it only thing, only thing having a bad experience will do like
27:48
for me, like my mentality would just make me go harder, you know,
27:52
make me try harder just to, Make sure that somebody else doesn't have that experience.
27:55
But not everybody else is built like that.
27:58
That's true. Now, Muhammad Ali would never refuse an autograph. And do you know why?
28:04
Because when he was a kid, Sugar Ray Robinson denied him an autograph.
28:10
He went to Sugar Ray Robinson to get an autograph. Sugar Ray Robinson's like, go away, kid. Yeah.
28:19
Certainly be alone. so now you know
28:22
they're they're both passed on but that's the
28:25
mentality that i have you know so okay
28:29
cool now let's get into this this cocaine roach man
28:32
this new film that you you you wrote this um yes how did that give people backstory
28:39
like cocaine roaches is basically a movie about roaches roaches and cocaine
28:43
cocaine they do cocaine and they just wreak havoc so so i saw So, of course,
28:50
we all saw Cocaine Bear, which was good. It was hilarious.
28:53
And then the spinoffs come. There was Cocaine Cougar. There was Cocaine Shark.
29:00
There was Meth Gator. There was Cocaine Crabs from Outer Space.
29:05
And I think they're doing one called Cocaine Werewolf. Yeah. Yeah.
29:09
So I saw them and they were okay. You know, I'm like, I don't speak bad on anybody's film.
29:14
And then I talked to the distributor who distributed cocaine crabs from outer space.
29:20
They sold 150,000 copies in a week.
29:24
I was like, whoa, well, I can do that. You know, but let me add a story to it.
29:31
Let me, what's in these animal drug movies was missing.
29:36
And I think a lot that was missing is a story because if you take the gimmick
29:40
away, there's no movie Mm-hmm, if you take the cocaine cougar away from cocaine
29:44
cougar, there's no movie you take the bear away from cocaine beard There's no
29:48
movie. There's no story.
29:49
So I wanted to make a story Whereas if we took the roaches away,
29:53
it's still a story Yeah, you know and then how many times are you gonna run into a bear?
29:58
Yeah, not too often or a cougar I wish a man we black we stay out of the world.
30:03
That's right. Oh, that's right we might run into a crab
30:06
at the buffet right oh y'all run into a bear at the zoo or something
30:09
like that that's about it yeah now how many times you're gonna see
30:11
a roach oh yeah so i wanted
30:15
to use something that everybody's familiar with everybody has seen at least
30:20
once and have have dealt with especially in the black community so because none
30:26
of these movies have anything to do with the black community yeah so i wanted
30:31
to make something specifically,
30:33
a little more urban, a little more fun, and compelling story.
30:38
So that's how Cocaine Roach came about. Okay. Yeah. Okay.
30:42
Can you give us a little, you don't gotta give us a whole storyline,
30:45
unless you want to, but just like how you said, there's a story behind it.
30:48
Can you give us a little backstory to what the story is?
30:51
So the backstory to the story, well, there's like three different stories.
30:55
Of course, there's the drug story, where a woman.
31:00
Cross-dressing kingpin gives two of her clients a bag of coke to make some money
31:09
to go to the safe house and wait for the money man.
31:11
So that's the basics, you know, story. And the safe house is,
31:15
of course, filled with drug-crazed roaches.
31:19
Then you have the story of the character Tanisha and her daughter,
31:24
how she kind of leaves her daughter so she can go out and party and have fun
31:28
with the guys and so forth.
31:30
Then you have the story of Tanisha and her current boyfriend,
31:36
Gary L. Turner, who killed that role.
31:40
Then you have the story of Tanisha and her ex-boyfriend, Marlon,
31:45
who plays Omar, who happens to be the drug lord's enforcer and bodyguard.
31:52
So you put all four of those guys in a room together. Oh, and we can't forget
31:59
Alvin, his, his, his character's name is, oh gee, I can't remember Alvin's character's name.
32:07
Cas-o-ski-Jamal. Jamal. Okay.
32:14
So he's kind of like just in for the ride.
32:17
So you put Jamal, Ski, Omar, and Tanisha in a room together and they can't get out.
32:26
Until the money man comes yeah with four kilos of coke and cocaine filled roaches.
32:34
What's gonna happen the roaches just start
32:37
eating people you gotta see it we gotta see it man i'm i'm looking forward to
32:43
that with that one i know i missed mad as hell i had work but i will i will
32:47
call it i will call it to work to watch fucking cocaine roach i will that reminds
32:53
me of like this man like growing up watching a lot of
32:56
the, like the sci-fi original movies, you know?
32:59
It was, there was something about them to where like, that independent filmmaking
33:04
type of aspect, or like, you know,
33:06
like those grindhouse movies where they just, they not say it cheesy,
33:10
but they're just, you could tell they're films that were just made from the heart. Right, right.
33:15
And this isn't cheesy.
33:18
I mean, it's low budget, it's definitely low budget.
33:22
They said, we got Lawrence Hilton Jacobs in it. We got Todd Sinafonte.
33:25
Todd, it was Jean-Claude Van Damme Slanto.
33:29
It's just, it's a really, I wish I had my phone with me. I would pull up.
33:34
We got two critic reviews so far on an unfinished movie.
33:39
And they love it. They love it. They absolutely love it. I'm going to send you
33:43
those critic reviews so you can read those.
33:45
Yeah, because I think that's what people are yearning for right now, man.
33:48
Like, just something that they could just sit back, watch it,
33:51
be like oh this is like we're watching a movie you know
33:54
nothing that they take like we're getting like that popcorn it just
33:56
nothing too extravagant nothing too but
33:59
something we could they're gonna love it elise hollywood evans
34:03
plays two roles so she plays tanisha
34:06
and she plays diva big deal now we had a private screening yesterday for a mutual
34:11
friend of ours just to test it outside of excuse me just to test it outside
34:16
of me because you know i've watched it a thousand times outside of her and outside
34:21
of people who are in that real tight circle because we're keeping a lid on the movie.
34:25
And he, oh my God, he loved it. He laughed and then he just,
34:30
he was real quiet during the serious parts.
34:33
So it's kind of a fun rollercoaster ride. It's not a slow movie.
34:37
You know, I mean, you know, the introduction leads up to everything.
34:41
And we had a lot of help. We had help from the Black Repertory Theater in Berkeley,
34:47
Berkeley black rep helped us out a lot.
34:51
I'm just, I'm just very thankful that we got it off and it's great, man.
34:56
It's, I, I actually, every time I look at it, it gets better and better and better. Yeah.
35:02
And then what is it like when you, cause of course, like as filmmakers,
35:05
our own, we look at our own art, like that's our baby.
35:08
Like we, we, we treat it like our baby, like we love it. But what is it like
35:11
when you see, like how you say, like you showed it to your mutual friend or
35:16
like with Mad as Hell, you know, saying you said it won like what,
35:19
34 awards and stuff like that.
35:21
What's that feel like for you when other people look at your work and they have
35:26
that same appreciation for it that you do, that validation?
35:29
That lets me know that I'm on the right path, but it also lets me know that I can do better.
35:35
Our last movie, Mad as Hell, was really good.
35:39
I was very proud of it. But now we got Cocaine Roach, and I'm like, it's on another level.
35:44
We're doing a vampire movie also called The Thirst, which is on another level.
35:49
You know so we have to keep progressing you
35:52
know we have to keep stepping i never want to
35:55
in this business plateau yeah even even
35:58
if we take a dip even if i make a bad movie
36:01
i'll learn from it yeah but i don't want to make the same movie every time every
36:05
time every time every time then then you're like for lack of a better word you're
36:09
like a steven seagal movie he just cranks out these movies he's just the same
36:13
guy same guy in every movie i just want the same lines from this movie That movie. Same character.
36:19
So, you know, I'm dipping into this horror thing.
36:23
I have an idea in my head and we're working with my guy, Timothy Beal,
36:29
to get the rights to Blackenstein so that we can do our spin on Blackenstein.
36:37
Did you see Blackenstein? Mm-mm.
36:41
No. Cool. I'll take that one off the bucket.
36:46
I'll wait for you to break to, to remake it. Yeah. We're going to,
36:48
we're going to hopefully remake it and make it with a, and I'm not saying don't
36:54
see it because it's horrible movie.
36:58
You might laugh at it. Okay. Yeah. In today's cause that was made way back in the seventies.
37:03
So in today's standard, it really wouldn't be on par.
37:06
We really cut the mustard. So I would like to remake it and give it a story, a real story.
37:14
And I have an idea on how to do that. Okay.
37:18
Do you, with having such an extensive resume now with films that you produce,
37:23
having your own production studio, do you feel like there's pressure to outdo the last film you did?
37:29
Or is it, I just want to make this film the best film it could be,
37:32
this next film? I want to make each film the best film it can be.
37:36
Now, when we were doing Cocaine Roach, Elise Evans, Elise Hollywood Evans,
37:41
would be over my shoulder, and she would say, is that the best you can do for that?
37:46
I'm like, yeah, because the technology has been made. Well, yes, it has.
37:50
Somebody has a technology, and somebody's done this, and somebody's done that,
37:54
and it's just a computer program.
37:56
And though it was a little aggravating, you had to step outside of yourself
38:02
and be like, she's right, we can do better.
38:05
We can do better like when i
38:07
first did the roaches they looked
38:11
absolutely horrible they were like they were like this big and just brown and
38:18
you can do better robert you can do better yeah and so i tried to make it the
38:24
best we could be and when this is over i'll give you a glimpse of it so you
38:27
You can see they look like real roaches.
38:32
So every project I can do, do I want it to be better than the last project I
38:37
did? Yes, of course. But that's not my mindset.
38:40
My mindset is to make this project right here the best it can be.
38:44
And if it's better than the last project, great. If it's not, great.
38:48
But this one right here has got to be more than 100% for what I give it to.
38:54
Yeah. And so you mentioned at least Hollywood Evans a couple of times.
38:59
What is the, like with having such a big production team, having to be in charge
39:05
of so many people and so many people dependent on you, what's it like having
39:08
like a partner there like that's just like your rock that you,
39:11
that person that you can now lean on?
39:13
Because everybody looks at you at the leader, but now you have somebody who
39:16
you just, like she understands not only the entertainment business,
39:19
she doesn't understand just Robert the filmmaker, but Robert the person.
39:22
Well, she checks me, you know, when I fall short on things, cause I'm,
39:27
I'm a human being. I forget things.
39:31
Things I don't do, things I don't push myself to do, because sometimes I fall
39:36
into a cycle of that's good enough.
39:39
You know, she pushes me, you know, hey, you can do better.
39:43
Hey, what does this look like? Hey, what is your audience going to think of
39:47
this scene? What is your audience going to think of these words?
39:50
You know, so it helps me be very conscious, very, very conscious,
39:54
you know. And there are other people.
39:56
Amy Naylor is my, she's like our set production person. So she is on the script.
40:04
Robert, you forgot this scene. You forgot that. Don't forget this.
40:08
You know, she keeps, I'm like, what scene are we on? And I just turn to her
40:11
and she knows. We're on scene 34.
40:13
You know, she just knows. She knows.
40:16
So she's a big help. You know, Gary Turner.
40:20
He's my, whatever I need him to be.
40:25
So when we're on set, Gary and I'll direct and Gary will pull me to the side
40:29
and say, hey, Rob, what if you did the scene like this?
40:34
That's a pretty good idea, Gary. Let's do it like that. And let's see how it
40:38
turns out. Yeah. You know, so it's a collective effort.
40:43
I wouldn't say I'm the leader. I would say I'm the spearhead mm-hmm,
40:47
but not necessarily the leader because we all have,
40:51
sight and Insight into what we do because we've done it long enough to make a Great film.
40:59
Yeah, you know Just so happens that I'm the director.
41:03
Mm-hmm. Yeah could have been any one of us. Mm-hmm So is that that also your
41:08
approach to like I say just put it together your your production team it's like
41:13
you said, it's a lot of familiar people from a lot of familiar parts.
41:16
That also goes into the.
41:20
You've been able to trust their input. Right. And then vice versa,
41:24
them being able to trust you as the director.
41:26
Right, right. Because if there's something that they say and I don't think it's
41:30
going to work, I'm going to tell them, hey, that's not going to work.
41:33
And I'll tell them why it's not going to work. And then they won't get offended.
41:36
Yeah. You know, and I don't get offended when they tell me, hey,
41:41
Rob, I don't think that's going to work.
41:42
I don't get offended because we're trying to make a product. It's not about the ego.
41:45
It's about the product. Yeah. You know? So we all vibe off each other with that.
41:51
Of course, I have a vision where I would like something to look,
41:55
but in somebody else's eyes, it might look a little better if we did it like this.
42:01
I got to take that into consideration because I'm not making the movie for me.
42:07
I'm making the movie for the audience, for the populace. So I got to take everybody's opinion.
42:13
Nice, nice. And I said, being on those types of film sets, especially being
42:18
independent filmmakers, I mean, you should almost call it the opposite of being
42:23
independent, man. It's like codependent.
42:27
This is a codependent film. Just like this person is trusting me,
42:30
I'm trusting this person.
42:32
I'm hoping this person shows up. I'm hoping this actor knows their lines.
42:35
I'm hoping this light person actually knows how to operate lights. It's like my DP.
42:39
We did this music video in LA for a rapper, Q Ali Bey.
42:45
It's got over, I don't know, 200,000 views on YouTube or whatever.
42:52
And I had Gary in the head, my guy Vert Wright, his DP.
42:57
And so we worked long enough together. And they were like, what do you think
43:00
of this shot? I don't want to see it. I trust you. I asked you what I wanted.
43:06
Just get it. Yeah, yeah, yeah, yeah, yeah, yeah, yeah.
43:09
Don't show me every shot unless I ask to see the shot. I trust you. Yeah.
43:14
You know, to me, that's.
43:17
That is time that I could be spending doing something else to move the set forward.
43:24
Yeah. You know, that's just me. That's the way I work.
43:27
Some people are, oh, you got to see the shot after every shot to make sure you
43:32
like it. Of course I like it. You know, I trust you. Yeah. So.
43:35
Yeah. That's definitely the, like you say, the camaraderie of once you build
43:39
up your team, people you trust.
43:41
Because I have a similar situation on, like I said, I produce my own comedy
43:44
shows. Eventually, you know, grow, take learning to take what I learned for
43:48
producing a comedy show into, you know, producing my own films and things of that nature.
43:53
But talk to comedian at my show last time. And he was just all like,
43:57
you know, because we got to from a comedian standpoint, we got to look at the
44:00
audience, you know, judge from what the audience looks like.
44:03
What jokes we might feel are going to be the best thing. You know,
44:06
one of the comedians, he just asked me, hey, man, so what could I do?
44:10
What kind of jokes can I tell? I was like, bro, just do you.
44:13
Right. Like, like, I'm like, you don't, I'm like, you are way past the point
44:16
of asking me, you know, what type of jokes to say. Cause like,
44:21
you've grown as a comedian.
44:22
I've watched you grow as a comedian.
44:24
Like I put you on this show because I trust you as a comedian, bro.
44:28
Just go out there, do you, and have a blast.
44:31
He killed it. Absolutely killed it.
44:35
So just, it takes, I feel like it takes a little while to get there because
44:38
like everybody treats, you know, everybody has art.
44:41
They, everybody has their own vision. But once you get in sync with that person,
44:45
it's just, it's like, bro, just do you, man.
44:47
You got to get past people's, or you don't have to, but people have to get past the insecurities.
44:52
Mm-hmm. You know, once you, and it's not a level of arrogance.
44:58
That's not what we're looking for. We're looking for confidence. Yeah.
45:02
So once you get past the insecurity and you become confident in what you do,
45:07
then it's all gravy from there.
45:10
How, as an artist or filmmaker in general, do we, because it's a thin line between
45:16
the confidence and ego, especially in this business, because people's personalities
45:20
are so, so fragile at times, man.
45:22
How do you, how do we kind of like instill that confidence, but then understand,
45:28
but like take away like the ego part of it?
45:32
Well, for me, I, I, I, I, I worship God at the end of the day.
45:40
I know that I'm not going to be here forever.
45:43
And I know that I have to answer for what I do.
45:45
So for me to say, oh, I'm a better actor than you. That's a little arrogant.
45:52
And maybe I said that and hurt your feelings. Right. But if I do that and hurt
45:56
your feelings one day, I'm going to have to answer for that.
45:59
So my thing would be, Hey, let's help you move to the next level.
46:04
So that's what works for me. Now what works for anybody else,
46:09
the difference between confidence and arrogance, I can't tell you.
46:14
I really don't know. I've seen a lot of arrogance in this business, a lot of cockiness.
46:21
And i i think you need a little
46:24
bit of that to stay on top of your game yeah
46:27
but it shouldn't be maybe it's gonna spill over to
46:30
it's something that you just keep it inside yourself it's something that it
46:34
should have spilled over that you end up taking out on the next person yeah
46:37
shouldn't spill outside of yourself it really shouldn't you know you should
46:40
it's like when i was in the ring i had the confidence to know that i'm gonna
46:46
beat this guy in front of me I had the confidence to know that it wasn't arrogance,
46:50
you know, I wasn't, you know, sticking my tongue out and shaking my hips and,
46:55
you know, playing mind game. Well, I did play mind games, but.
46:59
Yeah, no, it's a mental game. It's a mental game. More than a physical fight,
47:02
it's a mental game. It's a mental game of chess, you know.
47:05
So it's the same thing in this business.
47:09
Got to leave your ego at the door you
47:12
know if you want to make a great product leave your
47:15
ego at the door because if i come into the set
47:18
all arrogant well i'm gonna suck all the energy out
47:21
of you and i'm gonna you know i'm a director i'm gonna make you do this take
47:25
20 times let's get two more for safety everybody's all the energy's raining
47:30
yeah yeah yeah yeah that's the that's one of the most like most important things
47:35
like being on a film set i say number one is the food right,
47:39
And then number two is just the personalities because people will work hard
47:48
if there's good food and there's good people, if they're around good people, good energy.
47:53
But once that energy is sucked out the room, man, it just, because we are working.
47:59
This is a job. Everybody has their own things that they have to do,
48:03
their own responsibilities. but the second you walk in and treat it like it's
48:09
a job, it just sucks the energy out of the frickin' room, man. It does.
48:13
It does. And the good food is real important. We have, I usually have my daughter cater our film set.
48:21
So when Lawrence Hilton Jacobs was here, we had...
48:25
Like two different kinds, three different kinds of chicken. We had mac and cheese.
48:32
We had a salad. We had some banana pudding.
48:37
Oh man, we laid it out. And we took a lunch break and I didn't want to go back.
48:42
No, I was about to go to sleep. I'd be going to sleep.
48:44
I'm about to catch the itis just looking. I was like, golly.
48:48
And see, those are the type of films because those just show that you care about
48:52
the people. Yeah. You care about the filmmakers.
48:54
You got to. You got to. Because you want them to come back. You want them to come back.
48:59
Imagine if I got on set and treated Lawrence Hilton Jacobs like trash.
49:05
After all of his experience and I went in there and treated him like trash.
49:08
You know what he's going to do? He's never going to work with me again.
49:10
Then he's going to tell all of his friends never to work with me again. Oh, yeah.
49:14
You can't do that. And like I said, it's a small world.
49:19
It's small. It's the community. It's small, man. like yeah I mean I think I
49:24
just friended you on Facebook but then you look at our Facebook friends we probably
49:26
got over a hundred mutual friends and I'm like this is a this is a,
49:31
small small world man small world
49:34
yeah so before we do like wrap up wrap up the episode one thing I always do
49:39
is call like the Mount Rushmore which is basically like your top four and I
49:43
always say like your top four you know action actors you know top four action
49:48
actors yeah and they're probably people that you've already named but you know
49:51
know, just people who inspired you,
49:52
motivated you, that you watched on the TV screen or in the magazines that said, oh yeah, I could do this.
49:58
Bruce Lee, Fred Williamson, Jim Kelly, Ron Van Cleef.
50:03
Boom. Yeah. Top four. Yeah. And you know what was dope about that?
50:08
Like the reason why I love doing the Mount Rushmore and stuff like that,
50:10
because it always comes back to some part previously in this episode and stuff
50:15
like that, like all those people that you named for the most part.
50:18
We're all like literally people like mentors, mentors in your life,
50:22
people who, like I said, help shape who you are, not from just like the visual
50:26
standpoint, from you visualizing, oh, I could be that.
50:28
But there are people who like probably in your phone book, people who put their
50:31
arm around your shoulder, like, Robert, this is how you got to do this, bro. Exactly.
50:36
Exactly. And that's the thing, because eventually you're going to get to the
50:40
point to where, let's say 10 years from now, 15 years from now,
50:43
somebody might be watching this podcast. They'd be like, hey,
50:45
man, I want to do, I'm going to copy that and I'm going to do a Mount Rushmore.
50:49
And then that person is going to interview somebody.
50:51
But who's your Mount Rushmore? Think about, oh, it's Robert.
50:54
You know, it's this person, that person. You don't say it because everything
50:58
comes full circle in this business. It does.
51:00
Everything comes full circle in this business. It does. It really, really does.
51:04
So you have to be conscious of how you act, what you say, what you do,
51:12
because this is a small business.
51:15
It's a real small business and you want to work with open arms with people.
51:21
Yeah. Yeah. No tension on the set.
51:25
No disparaging words. It's all about love, man. Yep. Yep.
51:30
That's what it's all about, man. We just, I heard just trying to make movies, man.
51:34
We trying to turn our dreams into plans and our plans into reality.
51:37
That's right. So that's the goal.
51:39
So yeah. Was there, where can people find you at?
51:41
You can find me on Facebook at Robert.Parham.
51:45
P-A-R-H-E-M. You can find me on Instagram at TheRealRobertParham and you can
51:49
find me on TikTok at Kickboxin5.
51:51
K-I-C-K-B-X-N-5.
51:54
Okay, sure. And now if they wanted to go back and see your movies,
51:57
where could they see? My movies are on Plex, Voodoo, Hoopla, and,
52:03
What is that? Tubi? Tubi and Peacock.
52:07
Okay. So you can just type in my name and the movies will come up.
52:10
Okay. Awesome, man. Awesome, man. I'm going to bring you back and we can talk
52:13
about that whole, the second part to like the production part.
52:16
Well, actually I can say the third part, which is there's pre-production,
52:19
production, then post-production, which is actually like getting your movie,
52:22
you know, out there and onto the streaming platforms.
52:25
I feel like that's just a whole another conversation in itself because that's
52:29
where I really like at the networking end, you know, who, who,
52:32
you know, and really knowing the business side of things, who,
52:35
you know, is who knows you, you can know anybody,
52:38
but if they don't know you, you're not moving forward.
52:42
Powerful. All right, man. So yeah, my name is a bit buddy. Rami got been the host.
52:46
You can follow me at yeah, buddy E and T or at funny business on all social media platforms.
52:52
And if you're listening, if you're watching, it's just, it's just right there down there for y'all.
52:56
And then, uh, like I said, this is the yeah, Bad Buddy Podcast.
52:59
It has been brought to you by the Comedy Cash Cow Competition,
53:02
which goes down May 25th, Vacaville, California.
53:05
Tickets are available right now. You can see 25 comedians compete and battle
53:09
it out for their chance to win a thousand dollar grand prize and the chance
53:14
to star in their own short film, which we will then take and send out to like
53:18
a whole bunch of film festivals and stuff like that.
53:20
So we're breaking comedians into the film industry.
53:24
We're going to have a whole bunch of industry people there like agents managers
53:27
media personalities people from iheart radio
53:30
film commissioners film distributors
53:33
i just found i just found that out today we're gonna have some film distributors
53:36
out there too as well so it's not only an opportunity for like comedians i was
53:39
like say actors and filmmakers like that you come network and meet people you
53:43
might even find a comedian for your next uh show your next movie well no you
53:47
got me you got me now you got me now i'm trying to try to have those three different types of chicken.
53:53
Yeah but yeah oh yeah buddy buddy rami y'all
53:56
this has been another episode of the yeah buddy podcast robert man thank you
53:59
for being a guest thanks man thanks for having me yes sir yes sir and we out
54:03
man i'll catch y'all on the next episode you catch us streaming everywhere on
54:06
from youtube spotify uh wherever you listen to podcasts that man we we there
54:11
we there we everywhere like air all righty man i'll catch y'all later.