Now you’re doing your own script “Hip Hop Don’t Stop.” ^ I actually wrote that with a big budget in mind. It’s something I wanted to shop around after Sundance.
And what’s going on with that project? ^ Pretty much every big wig in Hollywood has read it. But nobody wants to make it because of the ethnically diverse cast.
Can you tell us about the story? ^ It’s basically about the rise and fall of the breakdancing fad in the 80s. How it started out as an art form in the Bronx and the kids in the suburbs, you know, got latched onto it, and the media over-saturated it. It takes about a three-year arc from when it first became big until when it dies off as a fad. It’s another comedy satire. It really just shows what you don’t see in hip-hop movies. You know in every hip-hop movie you’ve ever seen everybody’s just good at what they do. They’re the best rapper, the best DJ or the best breakdancer, or whatever, but my film’s kind of about the poseurs, you know, people that really suck at what they do… you see breakdancers breaking limbs.
The ugly side of it. ^ Yeah, you know, just all the pretenders. But again, I don’t really know if that film’s ever going to get made because I wrote that specifically for a big budget. It’s a period piece. I would have to get pretty huge backing in order to make it.
So you almost have to be in the indie scene and work your way up? ^ I really don’t have any problem with that. I didn’t get into filmmaking to make a billion dollars. I got into filmmaking because I have something to say and for my love of cinema. Actually, I prefer (indie filmmaking) because you have total control. You don’t listen to some suit telling you, you have to reach some demographic in Dubuque, Idaho.

Posted on July 24, 2002 in Interviews by

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