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id="el_dS5TKNZZ5w"></rect></g></g></g></svg></div><div><div class="css-1t7yl1y">0:00<!-- -->/<!-- -->2:52</div><div class="css-og85jy">-<!-- -->2:52</div></div></div></div></header><div class="css-15fbio0"><div class="css-1p4nyns"><p class="css-1qi8px4">transcript</p><h2 class="css-9wqu2x">‘One Night in Miami’ | Anatomy of a Scene</h2><h4 class="css-qsd3hm">The director Regina King narrates a sequence from her film featuring Kingsley Ben-Adir, Leslie Odom Jr., Eli Goree and Aldis Hodge.</h4></div><dl class="css-p98d0w"><dt class="css-xx7kwh"></dt><dd class="css-12tddc8"><p class="css-8hvvyd">”Hi, I‘m Regina King. And I‘m the director of One Night in Miami. So this is in the film where we‘ve just seen our quartet, Malcolm, Jim, Sam and Cassius, come down off of the roof where they went to kind of get a breather. It really kicks off the beginning of the debate that we‘re going to see between Malcolm and Sam.” ”You know what is going on around us, it should make everyone angry. Well, you know, you bourgeois Negroes you‘re too happy with your scraps to really understand what is at stake here.” ”Malcolm is really in this space feeling urgent, that where we are as a people, we don‘t have time to joke around or take life lightly. And he feels that Sam has not been using his voice the way he should be. They all have strong voices. But Sam has the furthest reach.” ”And that is why, brother Sam, this movement that we are in is called a struggle. Because we are fighting for our lives.” ”My goal in this moment was to set up how we can debate passionately and disagree. But while we can come to heads like that, it still comes from a place of love. This film is not told through one person‘s perspective. It‘s the fly on the wall‘s perspective. And as Malcolm is throwing jabs, Sam throws jabs. And we just kind of jump from different perspectives as the audience member, as each one of them makes a really valid point. And this is the setup for all of those points.” ”Wow, Sam, your music is deep brother.” ”Hey man, I love them songs.” ”You have lots of conversations just reminding Leslie in moments of, that, while Sam and Malcolm are having this debate that he does have great respect for Malcolm. And to hear these words coming from Malcolm that kind of mirror maybe some thoughts he may have had himself is a bit of a blow. And it‘s what you play in the silent moments when you‘re not talking that‘s as equally important as when you actually have dialogue.”</p></dd></dl></div></div></div></div><header class="css-14aynh9-headerClass"><div class="css-stjyvd" style="padding-top:50px"><div class="css-1i1dokm-MobileHeaderContainer"><div class="css-70qvj9"><div class="css-y5llnn"><h2 class="css-gpjfgi-SeriesTitle">Culture</h2><span class="css-3t5ykw"><span></span></span></div></div><div class="css-m4amcf"></div></div><div class="css-176nzc2"><div class="css-1dsiy50-videoContainer" role="button" tabindex="-1"><div class="css-11kuxu4" style="width:100%;padding-bottom:56.25%;background:black"><div class="css-122y91a"></div></div></div></div><div class="css-cd2c11-FooterContainer"><h1 class="css-1yb82u6 e1h9rw200" data-test-id="headline"><span>‘One Night in Miami’ | Anatomy of a Scene</span></h1><div class="css-19m31ns">By Mekado Murphy<!-- --> <span class="css-1iknmmf">•</span>January 22, 2021</div><h2 class="css-nvwbu">The director Regina King narrates a sequence from her film featuring Kingsley Ben-Adir, Leslie Odom Jr., Eli Goree and Aldis Hodge.</h2><div class="css-hn4bqd"><div class="css-lsf37j"><div class="css-x83khl"><div class="css-j1ywa2"><div role="toolbar" aria-label="Social Media Share buttons, Save button, and Comments Panel with current comment count" class="css-d8bdto" data-testid="share-tools"><ul class="css-y8aj3r"><li class="css-1xbhk30 fb-share-item"><a href="https://web.archive.org/web/20210205095046/https://www.facebook.com/dialog/feed?app_id=9869919170&link=https%3A%2F%2Fwww.nytimes.com%2Fvideo%2Fmovies%2F100000007563305%2Fone-night-in-miami-scene.html%3Fsmid%3Dfb-share&name=%E2%80%98One%20Night%20in%20Miami%E2%80%99%20%7C%20Anatomy%20of%20a%20Scene&redirect_uri=https%3A%2F%2Fwww.facebook.com%2F" target="_blank" rel="noopener noreferrer" aria-label="Share on Facebook"><svg class="css-1acmxgr" viewbox="0 0 7 15" width="7" height="15"><path fill-rule="evenodd" 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director Regina King narrates a sequence from her film featuring Kingsley Ben-Adir, Leslie Odom Jr., Eli Goree and Aldis Hodge.","transcript":"”Hi, I‘m Regina King. And I‘m the director of One Night in Miami. So this is in the film where we‘ve just seen our quartet, Malcolm, Jim, Sam and Cassius, come down off of the roof where they went to kind of get a breather. It really kicks off the beginning of the debate that we‘re going to see between Malcolm and Sam.\" ”You know what is going on around us, it should make everyone angry. Well, you know, you bourgeois Negroes you‘re too happy with your scraps to really understand what is at stake here.\" ”Malcolm is really in this space feeling urgent, that where we are as a people, we don‘t have time to joke around or take life lightly. And he feels that Sam has not been using his voice the way he should be. They all have strong voices. But Sam has the furthest reach.\" ”And that is why, brother Sam, this movement that we are in is called a struggle. Because we are fighting for our lives.\" ”My goal in this moment was to set up how we can debate passionately and disagree. 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I am the director of Wonder Woman 1984.\" ”We need the police here right now!\" So this is a scene which we had so much fun doing. It is the first scene in the film that happens to take place in current day. The only thing we‘ve seen leading up to this is a flashback. And the first scene where we see Wonder Woman as an adult in our film. ”What are you doing?\" What was most important to me about this scene, was when I thought about what we were going to do with the second film, I realized we wanted to say something much more serious and kind of important than we did with the first film. So the immediate thing is, how do you do that and reach the audience that is most important to reach with that kind of message? Which is the youth audience. It‘s the heroes of tomorrow you‘re trying to inspire. So we immediately wanted to have a fun and engaging playful scene, which I‘m very excited to be with kids and watch them watch this scene. In addition, I was craving seeing Wonder Woman at the height of her powers and having a good time, saving the day with no stakes. It‘s something that I love in so many superhero films. ”We won‘t be doing that today.\" Where they‘re just on top of the world and you‘re watching them take care of everything. Another thing was, the ’80s of it all. Lynda Carter‘s Wonder Woman was such a huge moment for Wonder Woman and her history in the world, and huge to me, because that‘s what I grew up watching. So getting to play with that version of Wonder Woman, which was something we hadn‘t gotten to touch on yet in the first film, was something that I realized I wanted to do right up front, because our story would not allow for her to have much more of that, because I always end up engaged with the main character‘s point of view. So of course, she goes into struggles immediately and doesn‘t get to just let loose and have fun. 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the latest Diary of a Song, Prince’s estate and his closest collaborators offer an unprecedented peek into his creative process.","transcript":"“There’s a lot of things I can say about ’87. Pro and con, mostly pro. But I’m not a speechmaker so I’ll do what I do best.” [playing “Sign o’ the Times”] “If y’all want to dance, it’s cool.” Singing: “In France, a skinny man died of a big disease with a little name. By chance his girlfriend came across a needle and soon she did the same.” “How you doing, man?” “Pretty good.” “Let me turn my light on.” “There you go.” “OK, there we go.” “Tell me how you met Prince.” “The phone rings, it’s his secretary. She’s like, ‘Hold on.’ And I’m like, ‘Hold on for who?’ Next thing I hear, ‘Uh, Levi, you want to be in my band?’ And I’m like, ‘Yeah, OK.’” “Hello.” “Hi, hang on a second. Let me turn you up. I think it was his 24th birthday. And I hear click, click, click, click, click. Jumps over the couch, sits right down next to me, and whispers in my ear, ‘Did you dream about me last night?’ I mean, he was incredibly charming, smelled beautiful. It was just everything, all about it was like, OK, I think you’re hooking me in.” “Who were you to Prince?” “Oh, well I know if he were answering that question, he’d say something funny.” “How are you feeling tonight?” “I feel with my hands, Martha.” “But I’m not as witty. So I was hired as his audio technician in 1983. Prince was looking for a tech, he was coming off the ‘1999’ tour.” [playing “1999”] “I was with him nearly every day for four years because if he was awake, he wanted to have a musical instrument in his hands. And if he had an instrument in his hands, he wanted to be recording.” “With this particular time, in writing ‘Sign o’ the Times,’ there was a lot of input coming at him. There was an earthquake in Los Angeles.” Announcer: “My goodness, a live earthquake, right here.” “He didn’t like that kind of stuff, you know. He liked to be in control. That was definitely being out of control.” “Also on the front cover of the L.A. Times, there was the AIDS epidemic. That talked about, you know, in France they were trying to come up with a vaccine, and it hit him so hard. Singing: “In France, a skinny man died of a big disease with a little name. By chance his girlfriend came across a needle and soon she did the same.” “There was gang violence in L.A.” “Another guy hit over there, too. Singing: “At home there are 17-year old boys and their idea of fun is being in a gang called the Disciples, high on crack and totin’ a machine gun.” “The Challenger had exploded.” “We will never forget you.” Singing: “It’s silly, no? When a rocket ship explodes and everybody still wants to fly.” “This was all coming at him, and he felt it was apocalyptic.” “If you look at the pop charts from those years that didn’t sound like ‘Sign o’ the Times,’ right?” “It doesn’t sound like new wave. Singing: “You spin me right round, baby, right round.” “That doesn’t obviously sound like hip-hop. [record scratching] “It doesn’t sound like pop. Singing: “Tell it to my heart.” “Right? It’s not something you can dance to. Singing: “Oh, I wanna dance with somebody.” “To me, it’s kind of like this Prince that is pivoting away from having to prove himself any longer with the Rolling Stone rock radio set. Yes, I can do a Neal Schon Journey guitar solo, and turn it completely inside out and it becomes ‘Purple Rain.’ Singing: “Purple rain, purple rain.” “Take rock back for Black folks. And now I’m going to show you that I can also cross over to certain kinds of digital musics.” “So when Prince brings the song to the studio, how does he set it up? Does he say anything to you?” “His favorite way to work was to say nothing at all. I would have everything set up so that he could work silently. Prince didn’t talk much. He was not an especially social human being.” “How many years ago did you make these demos, and then have offers on them?” “The world came to him, and then he expressed what he had experienced to you through the music. He’s sitting there, I’m at the console and he’s next to me at the Fairlight.” “The Fairlight Computer Musical Instrument. It’s $46,000 worth of electronic wizardry.” “It’s more than a synthesizer and sampler. It was a very expensive digital engine with sounds built into it. On the song ‘Sign o’ the Times,’ he played all of the instruments on it. You can hear that that bass line is played from his fingers. That’s a keyboard instrument. As he’s sitting at the Fairlight, he’s moving from instrument to instrument to instrument. He had a watchmaker’s knack for understanding how music worked, and how to get it to work with the fewest possible parts.” [music playing] “The other reason you have to remember with Prince is every time you listen to a song, it’s telling a story. Even if he wasn’t singing, you could just listen to the music and feel that that song would be about what he’s talking about.” “Prince’s sessions were notoriously long. Often, it would be 24 hours. He’d take a break, maybe shoot some basketball. But he also had a sweet tooth, so every now and then he’d ask us to send a runner down to get a big lemon cake. After we recorded the Fairlight onto analog tape, we’d make a cassette of it. He’d take it out to the car, and then he’d write melody and the lyrics. And then come back in and finish the song.” “Prince always did his vocals alone. We would set up his vocal mic then leave the room. He didn’t want an engineer between him and that audience. He wanted to just sing to his listeners. Singing: “It’s silly, no? When a rocket ship explodes.” “You’d be on the other side of that door. Singing: “And everybody still wants to fly.” “And you'd hear those soul preacher screams, and you’d know, oh this is going to be one of those that just has me on my knees. Singing: “Oh why, times.” “When the vocal was done saying what it had to say, that’s when the guitar could take over for the vocal.” [guitar playing] “And say the same thing the vocal said, but with short melodic phrases.” [guitar playing] “Every single day we recorded, I had the feeling of, oh this is going to be great. Wait till people hear this. Singing: “Sign o’ the times.” “When he comes back with ‘Sign o’ the Times,’ how does he present it to you?” “In the car. ‘Guys, want to come in the car and hear what we did?’ So we all pile in the back of the car, and he turns it on.” “He just pops in a cassette?” “Pops in the cassette. We were like, ‘Whoo, yeah.’ You know, like that’s how we always were, like, it’s great. He was always very cool.” Singing: “It’s silly, no? When a rocket ship explodes and everybody still wants to fly. “His fans, you know, they like to dance and stuff but they still want to be intelligent. Like, we can have some fun, but can we talk about something that actually means something? Instead of your eyeliner you got a big ass?“ The sign o’ times mess with your mind, hurry before it’s too late.” “What’s really interesting to me is that, you know, he basically spends four minutes, or whatever it is, cataloging the ills of the world, and then his solution is … Singing: “Let’s fall in love, get married, have a baby. We’ll call him Nate.” … “let’s go get married and have a baby.” “Right, well at the end of the day when you’ve got nothing else, you do have — the most important thing is love. He always came down to who is he loving, and who was loving him. That he could then be the guy he felt he needed to be.” “It’s very hard to hear the song ‘Sign o’ the Times’ and not think of health crises, political crises that we have going on now. Like, what do you think Prince would have made of 2020?” “I don’t think Prince was preoccupied with world events for their own sake. I don’t think he would have been the kind of man who would write a letter to the editor of his local newspaper. He didn’t want to see foolish people ruin it for everyone.” “There's a melancholia to it that matches 2020. You know, that is the feeling for 2020. But it also challenges us to think about how long we’ve been on the battlefield, and the ways that the music itself can provide us with knowledge to position ourselves for thinking about the future. We are the song’s futurity. So it’s our responsibility now to keep building forward from what Prince gave us.” “Why are you giving interviews and refusing to speak? Why? And don’t tell me you lost your voice because I heard you singing five minutes ago —” “He has to sing tonight.” “But couldn’t you, like, sing your answers? I mean, I just don’t understand why you won’t speak. Because it’s like that? And that’s the way it is?” 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O.K. So the scene that's playing out right now takes place in the second act of the movie. Without giving much away, the basic setup is this. So our daughter, played by newcomer Kiera Allen, has been locked in her room by her misaligned mother, played by veteran Sarah Paulson, and is convinced that she needs to escape. From a form standpoint, I think what you're about to watch is actually one of the few sequences that breaks the pattern of the film's aesthetic. Much of the film's style is sort of borrowed from the films of Hitchcock and Shyamalan, and those films don't just choose shots because one thing can happen in them. They designed frames where, like, four or five things can happen in them. So to borrow a page out of their book, I storyboarded every single frame of this movie by hand before we started shooting. You can actually compare the boards to the final film. It's all pretty identical. 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And I have to say, until we got to some of the crazier kills, it was probably the most fun that everybody had on set.\" \"I get it, 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Sorkin discusses a sequence from the film featuring Sacha Baron Cohen.","transcript":"I'm Aaron Sorkin, and I'm the writer and the director of \"The Trial of the Chicago 7.\" \"It's Abbie.\" The scene is Abbie Hoffman on the stand. He's being played by Sacha Baron Cohen. Frank Langella is playing Judge Julius Hoffman. He is either a terrible judge, or in the bag for the prosecution, or experiencing early senility, or some form of the three of those. The lead defense lawyer is Mark Rylance as William Kunstler a civil rights attorney at the time, who became a very well-known civil rights attorney because of this case. \"Abbie, do you know why you're on trial here?\" \"We carried certain ideas across state lines, not machine guns, or drugs, or little girls -- ideas.\" It's the final scene of the trial. But what's unusual is that ordinarily the last witness in a trial, that's usually the climactic scene. Somehow a lawyer breaks down that witness, and he explodes in a\"'you can't handle the truth\" kind of moment. That scene in this movie actually doesn't happen in the courtroom. It happens during a mock cross-examination that Mark Rylance as William Kunstler conducts against Tom Hayden-- that's Eddie Redmayne-- back at their offices where they've been working. He's trying to demonstrate to Tom Hayden why Hayden can't take the stand because they'll rip him apart, and he shows him how. That becomes the climactic courtroom scene. And the scene with Abbie on the stand is a kind of coda. It's something we've been waiting for. It's a serious Abbie telling us what he really thinks. [CHUCKLES] \"So Chicago was just a massive voter registration drive?\" The cross-examination is being done by the lead prosecutor, Richard Schultz, who's being played by Joseph Gordon-Levitt. We know from the beginning of the movie that he's ambivalent about prosecuting these guys. He's going to do it. He's going to do it fully because that is his job, and he has been directly ordered to by the new attorney General John Mitchell. But he knows that it's a mistake for a number of reasons to do it. So he's a really interesting character. And Joe plays him beautifully. It was a crazy trial. Some of the crazy was bordered on the comic and some of the crazy was tragic. So I wasn't going to try to top all those fireworks with this scene, especially because I knew that I had a final scene coming right after that, which does have a lot of fireworks. So this was going to have to be the opposite. It was going to have to be the opposite of that in the writing of it. It was going to have to be the opposite of that in Sacha's performance. And it was going to have to be the opposite of that in how we shot it. It was Sacha's big day. And there was still, in some people's minds, a curiosity as to how Sacha Baron Cohen would play a dramatic scene. On this day, there was a huge crowd watching him do it. Those extras, even when the cameras were pointed away from them, stayed there because they wanted to see Sacha do this. And take after take, he would just get a huge ovation from the crowd. Part of that ovation, by the way, was for Joe Levitt too. But people were really curious about Sacha's performance. They were as knocked out by it as I was, and I think the audience will be too. \"Do you have contempt for your government?\" \"I'll tell you, Mr. Schultz, it's nothing compared to the contempt my government has for me.\" The night before he shot it, I sent him an email saying, just a reminder, really the creative success or the failure of the entire movie depends on your performance that you're going to give tomorrow. We can have been great up until that moment, and you still have an opportunity to sink the film with anything less than a great performance. So knock him dead, pal. I was just going to tell him the truth. For real, you can't blow this scene. We've been trying to make this movie for 14 years. 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I've never been on trial for my thoughts 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Taymor narrates a sequence from her film featuring Alicia Vikander and Julianne Moore.","transcript":"My name is Julie Taymor. I'm the director and co-writer of The Glorias. \"Do you think that there is a paradox between women's attitudes toward the fact that they don't want to be treated as sex objects and the fact that you dress very sexily?\" So we're about halfway through the film and we have had Alicia Vikander play Gloria from age 20 to 39 or 40. And in this film, I have four Glorias-- the six-year-old, the 12-year-old, Alicia plays this age, and Julianne Moore plays 40 to 80. At this point, Michael Lowry, who is playing the interviewer, is commenting on her clothes. He alludes and flirts to the fact that she is a sex object. And this is a point where I have her, Alicia, replaced by Julianne. Julianne then takes the seat, and so she does talk to the interviewer about the fact that this black t-shirt, black pants, and boots-- it's her uniform. And after she does that, the audience starts to see what's actually in her head. And I go into a surreal sequence now. And now I allow the other Glorias to appear. The first one to come is Alicia comes back dressed like a nun in a kind of Handmaid's Tale-ish-- Sandy Powell did the costumes-- red garment habit with this incredible nun white hat that's like The Flying Nun hat. And then the gust of wind blows it up. And underneath, you see the Bunny costume, because the Alicia Vikander actor played the part in Gloria's life where she went undercover as a Bunny in the Playboy Club to talk about working conditions. And then the little Gloria, Ryan Kira Armstrong, comes running up, jumps on the platform and onto the lap of the interviewer, and whispers in his ear-- \"What's a sex object?\" It breaks your heart in a way. Then we go to the 12, 13-year-old Gloria, played by Lulu Wilson. [MUSIC PLAYING] And once we do that, I go into full surreal mode with the tornado inspired as a true homage to The Wizard of Oz with Elliot Goldenthal's extraordinary score. 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director Antonio Campos discusses a scene from his drama featuring Tom Holland and Robert Pattinson.","transcript":"\"NARRATOR: Hi, I'm Antonio Campos, and I'm the director of The Devil All the Time. So we're about 2\u002F3 of the way into the movie, we're entering the third act. And Arvin has been spying on this preacher and has figured out that he did something to his stepsister. And so he is coming to get revenge. And one of the things I wanted to convey in this scene is that Arvin isn't a killer. He comes in with the intent of killing him, and in the moment when he's going to shoot, he gets nervous and he sits down, and he's got to muster up the courage to go through with the act. He's a violent kid, but he's not a killer yet. And so what I wanted to do is I wanted to try and give you two perspectives in this scene, one from the perspective of Teagardin talking to this young man that's come in.\" \"You got time for a sinner?\" Who wants to confess, get something off his chest, and the other, in close up on Arvin's face, where we are with Arvin, where we're with him, we're seeing that he's nervous, and that he's a little anxious. \"I've done lustful acts.\" So we get this angle here, this close-up angle, and that's where we're in it with him, and we get to see into his eyes. And then there's the frontal angle, and the frontal, we're withholding his eyes. We're seeing it the way that Teagardin sees him. The other thing there is this little technical thing-- is Teagardin has seen Arvin in church with his grandmother and with his stepsister, but with his hat on, and the angle that he's looking at him, he can't quite identify him. So that's the other reason why this wardrobe was really important for the scene. This is, by far, my favorite scene in the whole movie. And I was so excited for these two characters to come together. And for this force of good and this force of evil to finally meet. And it's the beginning of what becomes Arvin coming up against a lot of different evil forces in the story. It's a very long scene, so we really wanted you to feel every single beat. And so this scene took about-- I think we edited this scene on and off for about nine months. \"One day I got this girl in my truck and I drove her out to the sticks, and I had my way with her.\" [SIGHS] \"She put up a fight?\" \"No.\" And it was really about trying to capture every single detail that these two great actors gave us. I really think that Tom Holland is the greatest actor of his generation. And I think he's so natural, and he conveys such a wonderful humanity, but still manages to capture this kind of danger. And that Rob Pattinson is this kind of mad genius, and you don't know what he's going to give you on the day. And so I had this wonderful footage to work with. And it was really about trying to nail every little micro expression, every gesture. And by doing that, we create this kind of-- we start building up the tension to the point where then Arvin stands up and, with standing up, he reveals his eyes and reveals his identity to Teagardin. \"I've been watching your every move for the last couple weeks. You can't get enough of that Reaster girl, can you? Is that how you did my Lenora, too?\" And this kind of face off, here, was really-- this is where it kind of, like, really finely tuned the editing to make sure that every little gesture, once the gun revealed itself, is dangerous for Teagardin. \"Don't do anything you'll regret, son. Why don't you put the gun down, and we can talk all about it?\" So we really wanted to highlight each beat, and feel every time that Tom gets worked up and Teagardin gets scared. In the sound design, here, you really hear the rattle of the gun. \"It was just like this-- this Reaster girl.\" You get the shake of Arvin's hand through the sound of the gun rattling, which is one of these things that we didn't plan on, but when we got into the mix, you really kind of-- you realize you needed a sound to convey that sort of nervousness, to heighten the nervousness. \"--soul too?\" \"Look, I-- I didn't have nothing to do with that.\" And then you get this sort of, like, this anger building up. So now Arvin, who came into the scene so, so nervous to go through with the act, is now getting angrier and angrier and angrier. And he's building up the courage to either shoot or not shoot. We don't know yet. We don't know if he's going to change his mind, if Teagardin's going to manage to talk his way out of it. \"I ain't going to take the blame for no bastard child. It would ruin me, man.\" My wife is the editor, Sophia Subercaseaux. She and I always loved every one of Rob's deliveries here. \"She was delusional. She's crazy. That's it.\" \"Or she was just 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See how they made it sound modern in the latest Diary of a Song episode.","transcript":"“Hello.” “Hey. What’s going on?” “You face the criticism that you’re not country enough.” “If the tone of a drum is the difference between country music and pop music, that’s a pretty ridiculous statement to make.” Singing: “There stands the glass.” “He knows that he’s not a traditional country artist in today’s world. He is constantly thinking, ‘What can I bring to the table that’s not already there?’” “People are like, ‘What is that?’ And I think that’s sort of the magic of being a little bit polarizing.” Singing: “You’ve got a cold heart and the cold hard truth. I got a bottle of whiskey, but I got no proof that you showed up tonight in that dress just to mess with my head.” “You’ve sort of gained this reputation as the guy in Nashville who can incorporate hip-hop in a way that feels natural.” Singing: “ Act like I didn’t see her. We’d pay at the same pumps, flip through the same stations, and slow down for the same curves.” “If I become too conscious of it, then I can force it, and it doesn’t work as well because there are songs that I’ve never put out where I’m trying too hard to blend genres as if that’s now a responsibility of mine.” “From your vantage point, where did ‘Hard To Forget’ begin?” “I had been eating breakfast at this little spot over near my house, and this song, ‘There Stands the Glass’ came on by Webb Pierce.” Singing: “There stands the glass.” “And so I’m a big Kanye West fan and I was like, I want — like, if Kanye came across a bin of country records, I wonder what he would do with something like that? So as I’m walking out of the restaurant, I was like, ‘there stands the —’ [beatboxing] And so I made that track.” Singing: “There stands the glass.” “Super slow.” Singing: “That will ease all my pain.” “I’ve done tons of beats like this just for fun.” “And had you ever sampled anything that old?” “No, not that old.” “So what was the first version of ‘Hard to Forget’ that you heard?” “It all started with Sam and I, and Luke Laird just doing a session.” “You know when you get in a room with Ashley Gorley, he’s trying to write a hit song.” “I had an idea that day that I started and I came in with. I can’t remember exactly what it was because it was, like, so-so.” “Somewhere in session, we could just tell, not that it was stale, but I was kind of sitting there.” “About halfway through, we broke for lunch, and Luke said, ‘I had this sample, man, I wanted to play you.’” “I hadn’t even thought about playing this track for him. All of a sudden, it hit me. I’m like, ‘Oh my gosh. What country artist could actually legitimately pull this off?’” “Immediately in the room, Ashley and I both looked at each other like, this is awesome.” “I was like, wow, that’s probably too crazy, but if anybody can pull this off it would be Sam.” “What was it about the sample that spoke to you?” “I think the fact that it was so far — it went all the way back to the ’50s. That would have been music that my granddad listened to growing up. Like Webb Pierce, that’s where I heard that stuff. There was a place called Foster’s Mill down the street from where my grandparents lived, and they would always have old, old country playing in there. And they sold minnows because there is a creek right beside it, and Blue Bell ice cream. So the sound of it is what was so familiar to me.” “It just like transported you back to childhood?” “Yeah, right. I told Luke, I was like, let me just think on this for a couple months. Let me see if I can kick up an idea. I combine two worlds on this song because the Webb Pierce sample came along after starting the ‘Hard to Forget’ idea.” “I had this idea playing ‘Hard to Forget.’ I was with Josh and Sam, and I was like, ‘I think I have this really good idea for a title.’” “When somebody has a title like that, we’re all like, ‘Oh, yes, let’s write that.’” “I was more excited about the idea ‘Hard to Forget’ than I was about the song we ended up writing that day.” “So it just sort of went in a stack.” “I remember thinking about ‘Hard to Forget’ and thinking, ‘Oh, that’s the kind of hook we need.’ But then I thought, well, I’ve already started this song with Shane and Josh, and there’s three writers on the Webb Pierce sample. I don’t want to cut the pie up in a million pieces. But at the same time, I felt like it was just — it was too perfect.” “He was like, ‘Can I play it for y’all just so you can hear the track?’ He said we didn’t really get real far on the song.” Singing: “There stands the glass that will ease —” “I thought what we were going to do was take the existing ‘Hard to Forget’ song, and try to sing it in this track. And he goes, ‘No, no, I want to write a whole new song. All I want to use is ‘Hard to Forget.’ I just want to use that line.’” “We ended up turning the Webb Pierce track off, I think, and picking up guitars.” “Josh and I were sort of joking and talking about Buck Owens.” Singer: “I got the hungries for your love.” “We’re like, ‘You’ve got a —” “Cold heart.” “That’s a Bakersfield sound, you know? And trying to put that on top of a traditional country thing like Webb Pierce that goes way deeper south —” “And I remember us thinking like, you know, it needs to sound like a bar sing-along, like a ‘Friends In Low Places.’” Singing: “Where the whiskey drowns and the beer —” “And so we started taking these pieces of all of our influences, and putting it on this very current-sounding track.” “What was the next step?” “You got all these great songwriters that are going to be on this song. I’m like, I mean, we got to get everybody in a room together.” “It had the feeling of what I would think an N.B.A. All-Star Game would feel like. You know what I mean? We’re all hanging out like, ‘Oh, I’m sure you got this line.’ ‘Beat this line.’” Singing: “You’ve got a cold heart and the cold hard truth.” “‘Cold heart’ is throwback to Hank Williams Sr., and then I actually think Ashley Gorley said the line —” Singing: “Got a bottle of whiskey, but I got no proof.” “Which is probably my favorite line of the song.” “It was a big run-on thing of all the country hook lyrics that Nashville’s kind of known for.” Singing: “So much for so long, out of sight, out of mind. Girl, you’re looking so good, it’s driving me out of mine. Oh, you’re breaking my heart. Baby, you’re playing hard to forget.” “I feel like we got it to a certain point, and then he was like, ‘I think I'm good.’” “And at that point it was like, OK, it’s like you’re putting the puzzle together, and you get the borders.” “He just wants time to think about it and live with it, and at the end of the day, he just has a certain barometer and a certain meter that makes a song him.” “And then Zach sort of brings the whole thing together?” “Yeah Zach — I don’t think his importance to the Sam sound can be overstated.” “The sample, it’s the backbone of the song, but it’s actually — the sample’s not in there very much.” “What did you think needed to happen to make it, A, a Sam Hunt song and, B, a Sam Hunt hit?” “The main thing I did was sped it up.” Singing: “There stands the glass that will ease all my pain.” “Those are the things that he does so well. He’ll hear something like that — goes, it needs to be up here at this tempo.” “And then all of a sudden, it felt like, ‘Oh, crap! This feels like a hit.’” “One night, we had a tracking session. We just let the band play a million different things. We ended up recording drums on it, but I didn’t use any of them. They just didn’t sound right. It felt that that song would be best served if it had hip-hop 808 drums.” Singing: “There stands the glass.” “He finds the balance between the live band and then what he supplements. That’s really his forte. He can really find that sweet spot.” “I’m very much the guy who loves to squeeze a bunch of little candy hooks, here and there.” “When you put a happiness in the background, it kind of comes through.” “He brought in my daughter and some of her friends. I’ve got 15-year-old daughter that was singing on the last chorus with a bunch of her buddies.” Singing: “You’re breaking my heart. Baby, you’re playing hard to forget.” “We needed a female voice texture on there to offset a bunch of dudes hollering in the background.” “You put some of those gang vocals on it, it just kind of comes to life. And it’s putting those — you know, kind of putting a ribbon on it or the bow on it, where it starts to feel like it’s getting finished.” Singing: “So much for so long, out of sight, out of mind. Girl, you’re looking so good, it’s driving me out of mine. Oh, you’re breaking my heart. Baby, you’re playing hard to forget.” “Did you think it was risky at all to release this as a single?” “It didn’t feel too, that radical to me mainly because the song itself is such a — it’s a country song.” “He’s really good at knowing how to kind of zigzag and keep everybody guessing, but also be true to what his brand is.” “The fact that country music artists today are going back in time to something like 1953 is telling you something. That song has a resonation, no matter what generation is listening to it.” Singing: “There stands the glass.” “Are people coming to you now, and asking you for this sauce, this, old-school samples?” “You know what? If so, I’m ready for it. I hope so. That’d be so much fun. Look, we can samples for days.” [laughter] Singing: “Bum, bum, bum, bum, bum, bum, bum.” “I just had this idea that I wanted it to bounce.” Singing: “I got the horses in the back.” Singing: “Bum, bum, bum, bum, bum, bum, bum, bum.” “Man, what’s the deal? Man, I’m coming through. It’s your girl, Lizzo.” 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And I'm Ariel Schulman. And we are the directors of Project Power. [MUSIC PLAYING] All right. So this is almost 10 minutes into the movie, and it's Jamie Foxx's introductory scene. You don't know anything about this character. You don't know his name. He hasn't spoken a word. So he's sort of like a man with no name. And instead of running in on a horse, he rode in on an old landscaper's pickup truck. [DOOR OPENS] And he's looking for this dude, Newt. Newt is played by Colson Baker, a.k.a. Machine Gun Kelly, and this is actually his third movie with us. We asked him if he wanted to do this, and he agreed right away before finding out that he would have to endure five hours of prosthetic makeup every day in order to prepare for this role. \"Everything's slow. If you want, you can call Simon. He'll verify who I am. Tell them--\" So here's Jamie trying to get inside this guy's house. And I think, maybe even in the script, he pulls out a shotgun and just blasts through the door, which-- no disrespect to the script, but that's kind of what happens often. And I think Henry just started Googling cool ways to pick a lock and saw a video of some kid throwing this shoe string over a door, and pulling it around the chain, and getting in that way. And we gave that little move to Jamie, who practiced it a bunch. And it turned out to be a really great character moment to show that he is really aware of his surroundings and very clever. We really wanted to flesh out the ecosystem of power and of this world where the movie takes place. So we wanted to understand who this character is. Where does he live? What kind of place is it? What are his neighbors like? We found this amazing abandoned apartment complex in New Orleans that has been turned into kind of a beautiful graffiti art project. 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This is Max Barbakow, and I'm the director of Palm Springs. \"So without further ado, I'd like to welcome up the actual big sister of the bride, Sarah.\" So this scene comes about five minutes into the movie, and we haven't really met Sarah yet, who's played by Cristin Milioti. But we're setting her up here as kind of the black sheep of her family, as she forgets drunkenly as the maid of honor that she's supposed to make a speech. - [CLEARS THROAT] \"Bonsoir, mi familia!\" And then things are about to get interesting as Nyles, played by Andy Samberg, who we have met the previous scene and understand doesn't want to be at this wedding, swoops in and kind of randomly bails Sarah out with what turns out to be a strangely knowing speech. \"We are born lost.\" And there's a lot of elements that I had to balance in this scene, and that's kind of what makes it fun. It's actually kind of a tonal microcosm of the whole movie in that way. We're kind of showing this Pinterest board of a wedding, and we're establishing the wedding party for the first time with Peter Gallagher and Cami Mendez and Meredith Hagner again. And then there's also just the odd nature of the speech, which is Nyles knowing highly personal details about the bride and the groom. And he's offering up profound life lessons. And this is all kind of subtly setting up to reveal that, yes, he has been living this night for an eternity, but this all has to come off with grace and a certain amount of clarity, especially because we're dropping the viewer in the middle of this story, kind of media res, trying to stay ahead of them like we are the entire movie, without much context. And what makes it work is Andy's incredible performance. And he's totally in control, and he's hitting all the notes. He's charming. And then most importantly, the speech is, like you're seeing here, kind of the first part of an elaborate, goofy seduction. And it's kind of our offbeat version of a meet-cute. \"Everyone here is your family. We are your world. And we will cheer you on with delight in our eyes as you achieve your wildest dreams. So raise a glass.\" And we're locking into Nyles and Sarah here kind of with a more subjective camera angle in honing in on the beginnings of this love story, which is what it's all really about. And just any time you cut back to Cristin Milioti, she completely is just selling what we're thinking as an audience, too. \"Wait, what?\" \"Let's dance.\" And now we're on to the dance. So in the writing of the script with Andy Siara, we were very much inspired by the dance sequence in Paolo Sorrentino's \"The Great Beauty\" and decided we wanted to have our own. [DANCE MUSIC] Returning to Sarah here, kind of reiterating how miserable she is at the wedding. So we flew in Conner O'Malley and his fun elbow jig. [DANCE MUSIC] And now, here comes Nyles again. 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25-year-old singer and songwriter shows us how “Kyoto” transformed from a ballad into a rock song over months, combining a stray lyric, a bare-bones voice memo from tour and shared memories of childhood.","transcript":"“Hey.” “Hey. Can you hear me?” “Yeah. I had the ‘I’m going to kill you’ line already, I think from a song I was trying to write about fentanyl. And then I was like, actually that kind of works. And it started as a ballad.” Singing: “I’m going to kill you if you don’t beat me to it. Born under Scorpio skies.” “The first thing that I notice when I listen to Phoebe’s music is the writing itself.” Singing: “Day off in Kyoto. Got bored at the temple. Looked around at the 7-Eleven.” “She’ll literally write two lines, and then she’ll wait months just for the perfect next line.” Singing: “You called me from a pay phone — they still got pay phones, it cost $1 a minute — to tell me you’re getting sober and you wrote me a letter, but I don’t have to read it.” “Phoebe’s like magical power. It’s just like these incredibly somber and gorgeous songs that are also hilarious.” “You write a lot of very slow —” Singing: “Can the killer in me —” “— very rip your heart out and stomp on it ballads.” Singing: “Jesus Christ, I’m so blue all the time.” “It’s easy for me to do. I think that’s just the way that they sound when I play them solo.” “Where did the idea for ‘Kyoto’ start?” “I think it’s like a collage chopped up into one experience. Like, I literally got home from tour. And then Marshall and I were talking about our dads and their similarities.” “Our dads both had beers in their laps and were like, ‘You want to learn how to drive?’ Like that kind of thing. And we were both laughing about that. We’re like, ‘What the hell is wrong with these guys?’” Singing: “He said you called on his birthday. You were off by like 10 days, but you get a few points for trying.” “It’s just about that complex relationship that you can never kind of get rid of. Wanted to see the world through your eyes, and then it happened. And I changed my mind.” “She just found this way to sing heartbreaking stuff in an alluring way. And that’s really been kind of the story of her career, I think.” “I had been playing since I was a teenager once or twice a month. And then when I graduated high school, it was just constant. And I thought that’s what it was.” “I signed Beck 25 years ago. This was the first time since that, that I heard one song and said, ‘OK, I’m in.’” “I’d met a lot of producers that were like, I’m going to put a trap beat over your voice. And Tony was the first producer I met — I think he’s the reason that my music sounds the way it does.” “The first album was mostly me, Ethan and Phoebe. “‘Stranger in the Alps’ was the first record I got to be a real producer on.” Singing: “You, you must’ve been looking for me.” “We became the Trilemma, as we call ourselves.” “I had no idea what my music sounded like before I started the first album. And then by the time I finished, I was like, ‘Oh.’ And that’s how we started this record.” “We had started maybe tracking four or five songs at this point in the record.” “But there was a problem, and that was Phoebe is very drawn to slow tempo stuff.” “All of us were like, we do need to have some tempo. And Phoebe was like, I have a new song.” Singing: “Day off in Kyoto. Got bored at the temple. Looked around at the 7-Eleven. So slow.” “Sounds like a Phoebe Bridgers song.” “Totally.” “I said, ‘Look, this song is great, and the lyrics are incredible.’ But I said, ‘Look, let’s speed this up. Let’s let it rock.’” “‘Motion Sickness’ was, I think, one of the more beloved songs off of that first record.” Singing: “I have emotional motion —” “This song, I think, we wanted to do a similar thing: Give it some tempo, give it some energy.” “And I was like, ‘Let’s go. Let’s do it.’” Singing: “Day off in Kyoto. Got bored at the temple. Looked around at the 7-Eleven.” “I think we were all like — smiling at each other, realizing it was working and just like —” “There are definitely times where you take slower, sadder ones, and you start playing them, and they lose, like the chorus all of a sudden feels flat. This one seemed to really like being a rocker.” “Ethan on pocket piano, which is the thing that plays the — Singing: “Doo, doo, doo, doo, doo.” “I was almost thinking in my head, which is often the case, I’m probably playing something that I need to make cooler, like it’s probably lame. And Phoebe and Chris were like, ‘That’s really cool.’” “That’s classic Ethan [expletive].” “And then the trumpet idea — Phoebe was like, ‘I want horns.’” “It’s kind of at odds with a rock band to me, but when it’s done right, it’s incredible.” “I thought, this is the last time I’m ever going to play trumpet.” “Oh, no.” “I had been dealing with this tooth problem. We started doing takes of ‘Kyoto.’” “He didn’t tell anybody in the studio that he had chipped his front tooth. So playing was excruciating.” “Where were you on the smiley face pain chart?” “Somewhere between 8 and 1\u002F2 and 9.” “We made him do it a million times.” “And you had no idea.” “We had no — I feel so bad.” “There was a lot of trumpet to record.” [trumpet playing] “I felt like it really felt like a song when I recorded the backing vocals. I’m going to — I thought that was so fun.” “In the tradition of people like John Lennon, who could write a profoundly sad lyric and play it as an up-tempo song, she did that with that song. And it was, I think, really effective because you’re very seduced by its tempo, by its rollicking nature. And then you start singing the song. You find yourself going, ‘Oh no, this is terrible.’ And it’s great. That’s a device she employs, and she employs it effectively.” “And only a few times per album.” “But when it happens, man, pow!” Singing: “I wanted to see the world. Then I flew over the ocean, and I changed my mind. Whew.” “I don’t think about all my songs as ballads anymore. I feel like they’re not even really fully written until I’ve shown them to those guys. And they’re like, ‘This stays a ballad,’ or ‘This is a rock song.’” “It’s going to be an important song for the record.” “And I changed my mind. That’s very Tony, too, to throw this in there.” [strums guitar] “How about when she screams at the end of ‘I Know.’ I’ll send you a video of her doing it.” “I wanted to be able to hit a really raspy Conor Oberst or Haley Dahl scream, because I love it in music.” “Did you have to teach yourself how to scream?” “I thought I did. And I asked Conor to come to the studio the day that I was screaming. And he was like, ‘What? You just have to scream.’” [screaming] [screaming] [screaming] [humming] “I just had this idea that I wanted it to bounce.” Singing: “I got the horses in the back.” - [humming] [snapping fingers] Singing “Man, what’s the deal? Man, I’m coming through. It’s your girl, Lizzo. 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This is Justin Lin. I'm a filmmaker, and I'm currently finishing my fifth Fast and Furious film, \"F9.\" Here we're watching one of the most famous chases in cinema from \"Bullitt.\" What I love about this sequence is that there is no music. The choice of really having the engine noises, the engine sounds, be the score. And also, what I love is that we're at an age where I think everything is cut, the shots are cut so tight. Here, the sequence-- you really get a sense of environment. It feels very authentic. Everything's practical. You see a camera that's on the car. They're not speeding it up, and you actually see Steve McQueen driving a car. I think that's one of the-- for filmmakers doing action sequences, that's kind of one of the gold standard shots that we always try to get, because it's obviously very dangerous to put an actor in a high speed vehicle. And to be able to design a shot that feels effortless and have them in the car, it takes a lot. And here, obviously, Steve McQueen is a great driver. And, you know, they're able to really kind of take us into the sequence. Here we're seeing the sequence from \"French Connection.\" It has a similar approach to Bullitt in that there is no score. I love the fact that it's trying to kind of take you into the moment. There's obviously two narratives going. One of the things I like about this sequence is that it's introducing a point of view of the car. They literally-- they're just mounting cameras on the cars, and they're just running them through the streets. And that's one of the things that I've learned, that, you know, with all the technology, you cannot fake practical. Just speed. There's something about the physics of having a car going at high speed that, even if you try to replicate that in C.G., you just don't get the rush. Now, this sequence from \"Terminator 2,\" I think James Cameron and the crew, they did a couple of things that I think was brilliant. One of the things that, in the construct of this sequence, that I love is how controlled it is. And this is to kind of set the tone of the two Terminators. The fact that, you know, they're so unphased, that in the midst of all this craziness and action, there's a calmness to it. And that when you see this, everything, that every shot, it's so controlled. And it really does tonally come together. Here, this long lens shot of the truck coming down. That, to me, was great, because it really kind of sets you up with a close up of John Connor. And to be able to get that sense of distance and the lens choices here, it was so figured out. And it's just one of those things where you don't know why it works, but when I break it down, I could tell you, it's not by accident that it's so great. That you could tell that James Cameron and Arnold had a great relationship with the crew, and there was a lot of trust. Because when you go in these sequences, you're trying to challenge each other. And there's a lot of danger and there's a lot of prep. And you're always pushing each other to see if you can just kind of eke out a few more frames. So here we have the sequence from \"Fast Five.\" What was important about this, and it was a big moment for us as a franchise, is the decision to actually do this practically. There were a lot of talks about, hey, let's do a CG vault, and this and that. And I just didn't want to do that. I think that was going to take out all the fun to what we can potentially accomplish. And so I remember having the stunt guys take out two cars, and we built a frame, and we just pulled it with the cable. And the footage that was coming back was unbelievable. It was taking out sidewalks. And, by the way, there's my son right here. He was a year and a half old. That was actually one of the hardest shots to get, because to drag a vault and have a one-year-old trying to look at it, that was take three. So we actually had a vault and the two cars dragging it. We had a vault when it was drivable. It was actually a vehicle that, you know, for certain shots, we would have that. And then there was a light vault. And so, as you can see here, it made all the difference in the world. Because it is so insane to, you know, to have this sequence of two cars dragging a vault. And the choice to say, hey, let's really plan this out and do everything practically, and let's build the sandbox, let's build the rules and how we're going to do that. Because there were a lot of shots that was designed, but you just didn't know how the vault was going to interact with the street, with the concrete. And, you know, I'm proud of that sequence because it helped kind of redefine the franchise. So here we're seeing the chase sequence from \"Rhythm Section.\" You know, I love this sequence because it's a decision by the director that, you know, you're just going to stay with the character in real time. You know, the choice to be able to put that in-- put the camera in the passenger side, I thought it was a great choice. And I think there's probably a couple cuts. But to be able to design the shot where you're in real time and you're not seeing the cuts, it does kind of bring back the choices of \"Bullitt\" and \"French Connection\" in that there is a sincerity to the sequence. Because I always feel like when we edit, it's a cheat. It's literally a cheat. And so I always-- when I work with my editors, we always say that if we're going to cut, even if it's within a second, we have to earn that cut, you know? And here, the choice of not at least appearing that there is any cuts in the sequence is important, because it's telling you why you're in the situation with the 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hyper-local strain of hip-hop that started in Chicago was tweaked by bedroom producers in the United Kingdom before taking over Brooklyn. Now it’s the soundtrack to a summer of unrest. The latest episode of Diary of a Song breaks down “Big Drip,” one of drill’s defining anthems.","transcript":"Crowd: “Hey!” [singing] “Hey! Hey, hey, hey!” “Fivio.” “Wow. What up?” “What’s up? Talk to me about Pop Smoke, and what he meant to the Brooklyn drill scene.” “Oh, everything.” [singing] “He basically was, like, one of the first people to take, like, the new Brooklyn, U.K. drill sound, and make it, like, mainstream.” “And after his death, like, do you feel like it’s part of your job to carry on that legacy?” “Yeah, definitely.” Rapping: “Hey! Bust it up. Look what we printed. Proud, proud. Winning. Looking for ’em. Spinning. Demons with me. Sinning. Bust it up. Look what we printed. Hey, big drip.” “I’m from Brooklyn, N.Y. I mean, I think I was rapping all my life. Since I was 3 years old.” “What made you start taking rap seriously?” “The people, really. Like, the people started giving me the confidence. Like, ‘Yo boy, you nice. You nice.’ Rapping: “You better not tag me. Yeah. And if you sending threats, then you —” “Tell me about the day you made ‘Big Drip.’” “So I’m in the studio and, like, my man Toast was like, yo, this [expletive] send me these beats for you.” “Axl!” “I actually started making beats on my phone. I got a couple placements, you know?” “Off of your phone?” “Yeah, off my phone. I bought my computer when I started sending beats and stuff. I was like, you know, it’s time to upgrade. You know, I’m trying to get professional. Because I can’t be making beats on a phone all day.” “What was the first song you produced for a Brooklyn guy that really started popping off? Was it ‘Suburban?’” Rapping: “It’s a man down when we lurking. Pull up in all black we purging.” “Yeah, ‘Suburban,’ then ‘No Suburban.’” Rapping: “Better recognize who you’re dealing with. Run up, gun up, gonna be a death.” “So you did the diss and the response?” “Back to back.” “It’s so local. Like, you know what I’m saying? Like, the way — the subject matter. Everything they’re talking about was from what was going on in their neighborhoods. Like, literally outside of their house. [expletive] goes on, and they go in the studio, and they talk about what they’re doing with their friends.” “Had you ever been to New York when you started producing for New York guys?” “Nah. It was all through the internet.” “It’s insane to make the soundtrack to a city and a neighborhood —” “That you’ve never been to, right?” “How would you describe the Brooklyn drill sound that has developed over the last few years?” “Brooklyn drill is like, it’s like, a play off of Chicago drill, mixed with the U.K. drill.” “What Chicago artists were the New York guys looking at to take inspiration from?” “Chief Keef.” Rapping: “Bang, bang, bang. I’m gonna let this hammer blow, like —” “He basically kind of, like, started the foundation, and then it just developed and transformed into something else. It’s gonna become the new sound, you know? I think that it might rub off trap music, and this might be the new trap.” “Trap is just one — and it’s kind of like — I mean, I like trap. But I say it’s kind of, like, it’s kind of boring because it doesn’t move anywhere.” “How would a drill snare sound?” “It’s just like — and that’s how, obviously, everyone just, like, realizes that this is a drill beat, compared to trap.” [drill beat] “I like the bass — I like that the — bow, bow, bow.” [drill beat] “If you listen to the slides, they always — you’ve got to find those pockets to rap in, or to find a melody in those pockets. You know what I’m saying? So I feel like it challenges — not too many rappers can, you know what I’m saying, ride that wave?” “Do you remember what the first thing you laid down was on ‘Big Drip?’” “First thing I laid down? Big drip. Big drip! I fell in love with a lit bitch. Ayy! I mean, I hear the beat, I think about what was happening that day, and make it rhyme. So I was on my way to the studio, traffic stopped. My man, Sosa, got locked up. Yeah, yeah, bitch. Free Sosa. Geeked up. Geekin’. We winning, we on defense.” “I sent him, like, you know, simple beats, no beats all over the place, you know? Because like, he goes ad lib.” “Bow!” “He can put it anywhere. He’s, he’s unpredictable.” “Bow! So it’s like, a combination of what I’m saying and the rhythm. I said three swaggy things, so I have to say ‘ayy’ three times. Ayy, ayy, ayy! Bow! They lovin’ the style. They lovin’ the style. Send me the addy, I’m hunting ’em down. Send me the addy, I’m hunting ’em down.\" “I knew it was a hit, because it was something different. And [unclear] was coming up at the time, as well. And I was like, yeah, this — this is going to be the news.” “At that point, people didn’t really believe, like, a lot, like drill could come mainstream. And then Pop Smoke jumped off.” Rapping: “Baby, welcome to the party. I hit the boy up and then I go skate in a ’Rari.” “Pop Smoke, he gave us hope, and it gave, like, the industry and the labels hope this could go mainstream.” “It don’t get more New York than Pop Smoke. You know what I’m trying to say?” “Any other artists coming out of Brooklyn that you’re jacking?” “Shout out Fivio Foreign.” “A dream of his was to bring this sound worldwide, and bring it mainstream. Like, it was very conscious.” “We dropped ‘Big Drip’ — it just started shooting.” Rapping: “Big drip! Big drip! I fell in love with a lit bitch. Ayy!” “Everybody was going crazy. Fivio, he’s telling cars in the streets, like, ‘Yo, that’s me on the radio.’” “Hold up! That’s your radio! Ayy, ayy, ayy!” “All the labels are calling. ‘Big Drip’ changed our lives.” [music] Crowd: “Bow! Bow, bow, bow, bow! Ayy! “Do you know if Drake heard of Axl Beats from ‘Big Drip?’” “Of course. When I spoke to him, I was like ‘Yo, let’s get an Axl beat — like, that sound, like, that’s the sound I’m looking for.” “He heard Brooklyn drill, and he came toward my direction.” “Axl.” “OVOXO link up, mandem drink up, me and the drillers. Hawk and Sticks and Cash and Baka, Gucci, P and Gilla.” “What do you think is the future of Brooklyn drill?” “I think it’s going to be mainstream.” “You’re on the same label as Adele and Beyonce.” “Right. That’s pretty good. Feels like a lot of pressure. Because I can’t, I can’t slip up. But I’m good at that. I’m good at that. I — I’m good at being smooth.” Rapping: “If you can keep a secret, we can all be happy. We can pose in a picture, but you better not tag me.” “Can you flip that around so I can see you?” “Is it a face interview?” “Yeah. Oh, yeah. It’s a video.” “OK, let me get better lighting. I need better lighting.” “Is that going to get you through the virus?” “Yeah.” “There we go.” “Is this where you make your beats? Right in the laundry room?” “The laundry room?” “Because I saw the [expletive] hanging up in the background.” [laughter] “I just had this idea that I wanted it to bounce.” “I got the horses in the back.” [beatboxing] “Man, what’s the deal? Man, I’m coming through. It’s your girl, Lizzo.” 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But 2020 has meant more changes than ever before. Here’s why.","transcript":"“Black trans lives matter!” “Black trans lives matter!” “Black trans lives matter!” “So let me tell you something: Voguing has always been a protest. The dance itself, in all of its campy glory, has always been about, ‘Look at me. I’m here. I matter, and look what I can do.’ So doing it on the streets, doing it, you know, in front of a cop car is letting you know, ‘I’m here. I matter.’ ” “The ballroom is not just voguing. The ballroom is art. The ballroom is fashion. It’s theater. It’s political. Remember, you have all these houses. You have the House of Mugler, you have the House of Mizrahi, and we call ourselves the House of Xtravaganza, the most fabulous of all time!” [laughing] “The ballroom scene has made it through past pandemics and past protests, from police brutality to the AIDS crisis, to losing a lot of the elders of the scene, to finding spaces.” “For a lot of people, ballroom is life, voguing is life. And so, when these things are kind of shut down, you’re basically kind of shutting down the lifeline of the community.” “I had balls in North Carolina that was canceled. I had balls in Florida that was canceled due to quarantine and corona, and it’s — what do we do now?” “First, we were seeing the at-home challenges happen.” ♫ “I don’t want the corone-rone. Just FaceTime me on the phone, phone. You got to get up out my home ’cause I don’t want corone.” ♫ “Wash your hands, hands, hands, hands, hands, hands, hands.” “Then we saw the rise of the Bigo balls —” “Ready?” “— a virtual ballroom —” ♫ “Ah, giving me hands. Giving me hands. Serve your hands like this, yes. Giving me hands. Giving me hands. Serve your hands like this. I’m stuck in the room. I can’t get out. This corona’s taking me out.“ “I remember, my friends, well I had close to like 3,000 people watching. It was like people were thirsty. They were yearning for a ball. They were just like, ‘Oh my God, yes.’ “ “And there was almost like a resurgence of ballroom in a new format.” “And just like in [snaps] the whole world has just stopped.” “Layleen Polanco!” “Say her name!” “Layleen Polanco!” “Say her name!” “Tony McDade!” “Say it like you mean it!” “Tony McDade!” “Nina Pop!” “Nina Pop!” “Say her name!” “Nina Pop!” “Say her name!” “Nina Pop!” “When black trans lives are under attack, what do we do?” “Stand up, fight back!” “Stand up, fight back!” “Stand up, fight back!” “Stand up, fight back!” “Stand up, fight back!” “Especially because black trans women, Afro-Latina trans women, are being murdered in the streets, we’re here to stand up. We’re the House of Xtravaganza. We’ve always been standing up against injustice and speaking out to make equality and justice for everybody.” “With Layleen, I was the mother of her house. She was one of my kids.” “Our house has always been a very trans-friendly house. Even if I did not know her personally, as a trans man, for me, she was my sister. It’s obviously hard losing a sister.” “It’s amazing just seeing her name everywhere, her pictures everywhere, and her story just reaching so many lives and so many souls and so many people.” “She had her chosen family and her biological family by her!” [cheering and applause] “Yes!” “The House of Xtravaganza!” “Yes!” “I love you guys!” “Yes!” “I love all of you!” “Yes!” “Thank you so much!” [cheering and applause] “Yes!” “I was wearing a mask, and I was scared. But I wasn’t thinking about that. There’s an abuse of power, and people are fed up.” “What do want?” “Justice!” “When do we want it?” “Now!” “I mean, L.G.B.T. culture is rooted in the battle against police brutality from Stonewall.” “No justice!” “No peace!” “No justice!” “No peace!” “And I think in the last couple of months, the last couple of weeks especially, we are waking up people faster.” “And it’s kind of using what we do to just voice our outrage and kind of honor our L.G.B.T. ancestors, with voguing being the resistance dance.” ♫ “We have $160 for whoever wins the ball today.” “I thought it was —” “It was more, but I decided to put the rest of that money that was more — into Black Trans Lives collectives.” [cheering] “And yes I am [expletive] hype because this is my [expletive] community. What?” ♫ “All these people that were voguing during the protests, it made me feel like, we have to fight for something. And what we’re fighting for is rights, and even in the time that we’re fighting for Black Lives Matter, you have to remember. We’re black and we’re queer, too. We’re black and we’re gay. We’re black and we’re trans. So, us going out there and voguing and being unapologetically us while protesting told them that, ‘Hey, don’t forget us either.’ ” “Period. 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She was the voice of Radio Hanoi during the Vietnam War, and like Axis Sally and Tokyo Rose in World War II, their job was to play music that the American soldiers wanted to listen to. And in between the music, they would start with propaganda. And so this scene is when our five bloods are told over the radio two days after the fact that Dr. Martin Luther King was assassinated. And this scene is skillfully intercut with archival footage of many of those over 122 cities that were aflame-- black folks enraged. We also deal with how the armed forces, the National Guard were sent out to quell the uprising-- I'm not going to use the word riot. I use the word uprising. \"Negroes are only 11% of the US populations, but among troops here in Vietnam, you are 32%.\" I remember that day when Dr. King was assassinated. I was 11 years old, and also the Vietnam War was the first war that was televised into American homes. A little known story is that, when the bloods, the black soldiers in Vietnam heard that Dr. King had been assassinated, when they heard their brothers and sisters were burning down over 122 cities, they were very, you might say, hot. \"Be safe.\" There almost was a civil war in Vietnam, where black soldiers were getting ready to take up arms, and they would not be shooting at the Viet Cong. \"We need to kill some crackers.\" I had four screenings of this film for black and Puerto Rican Vietnam vets that they were there. Each one of them confirmed this happened. Thank god it didn't. \"I'm as mad as everybody. All us bloods got a right to be, but we bloods don't let nobody use our rage against us. We control our rage.\" But it was about to-- to be the jump off for those black soldiers. \"Stand down! That's an order!\" Knowing they're fighting an immoral war, knowing they have nothing against the Viet Cong. \"You're gonna have to kill me.\" But also knowing their brothers and sisters are fighting for their justice, and that's what this film is about-- how we, as descendants of slaves, have fought for this country from day one. The first person that died for this country in a war-- the American Revolutionary War-- was a black man, Crispus Attucks at the Boston Massacre. So you can make the case that we've been more patriotic than anybody. And even today, we're still being shot down, choked to death, and people are marching all over the world, seeing the gruesome 8 plus minutes of our king, king Floyd's life. And Black Lives do matter. Black Lives have to matter. 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director Andrew Patterson discusses a switchboard sequence from his science-fiction drama featuring Sierra McCormick.","transcript":"\"I'm Andrew Patterson, and I'm the director of 'The Vast of Night.' So the actress here is Sierra McCormick, and she's playing Fay, who is all by herself with the 500 members of her town all at a basketball game. So the movie is set in November of 1958, and the setting is in a fictional town of Cayuga, New Mexico.\" [STRANGE SOUND] \"And the first thing that happens in this scene is you hear a very new sound. We wanted the sound in particular to be new in cinema. And so we worked pretty hard at mixing a number of elements together, and then Fay responds to it in a way that initially is-- it frames it as a viewer. Like you see that she doesn't understand it, and even though she's not threatened by it, she certainly starts taking immediate action.\" \"Hello? Hello? Hello?\" \"Listen, ma'am, can you disconnect and then try again? It's all--\" \"\"-- calling, and it's a strange, large object holding over my land off and on, like a tornado. Please send the police.\" \"Ma'am, is this an emergency?\" \"All of that frames your relationship to the sound. All of that kind of creates a tension that is a setup in this scene. And hopefully as a viewer you're looking for the resolution just like Fay, the switchboard operator, is. And what we were aiming to do was, in her performance, not go to the extreme that you would probably expect in this scene from if you were watching a horror film or you were watching a different kind of genre. We wanted her to be very grounded and continue to be the stand-in for the viewer. And we worked on that by heavily rehearsing her performance. This is actually the scene Sierra chose to audition with. And from the time that she auditioned with it to the night when we got this shot, we pulled it way, way, way back because we knew that the film itself, we didn't want to steal away the magic of where the film was going to go by having a large performance here. On set, there is no sound being played. The sound was a year away from being created at that point. And so she's just playing to an AD reading lines very dryly in the room but not necessarily in a way that you can play off of as an actor. So it truly was both the sound and the people on the other end of the line were yet to be cast and yet to be created. So there's no-- Sierra had to very much do this on her own, reading against someone that has no training in acting.\" \"--went away. I just wanted to see if it--\" \"Just call Everett\" \"Well, I don't want to disturb--\" \"I think the only thing I told her as a director was this is something that is entrancing. It's mesmerizing. It's not scary. It's not threatening. 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