T.I. & Chris Robinson on ATL, Hollywood Politics & Fighting for Your Vision

This is expeditiously, I am too, T.I.H.A. Uh-huh, now the following experience is not a test, the conversations and stories expressed on this podcast are meant to be an expression of purpose and truth. This show, properly entitled expeditiously, is a free exchange of ideas and opinions, no judgment, no preconceived beliefs, no fear. You're encouraged to share your thoughts and ask any question as long as it's done with respect. And ask through true love and respect for others that we would change the world and speak truth to power, one show at a time. Now without further ado, this is expeditiously, I'm T.I.H.A. Hey, what's happening, man? I am T.I.H.A.R.S. and this is expeditiously. Today, I guess, is someone who doesn't just make films or content. He tells stories that feel real, lived in and deeply personal, growing up surrounded by music and culture, he found his voice behind the camera, bringing authenticity and heart to everything he's created. From directing music video for some of the biggest name in the industry, like Alicia Keys, Nicki Minaj, Jay-Z, and myself, to name a few, to shaping powerful projects like the New Edition Story or the Wu-Tang Saga. He built a career on connecting emotion, rhythm, and a story that really resonates. I also done some of the most iconic commercials and sold some of the products you probably didn't know you bought because of him. He's a Grammy-nominated MTV and BET Award-winning director who orchestrated some of the most iconic genre-defined and visuals in music history. He's transitioned his genius from making classic music videos to making classic films. When he directed my first film, ATL, yeah, Shattered Records by doing so, okay? My monumental project that wasn't expected to do well, man, and he pulled the little knucklehead like myself to the side and let me know how important the work was that we were doing. Now, that film he took and made for $7 million, you know, $7 million budget, I believe. Yes. I'm going to say $7 million. What you're nearly $12 million in a day is a kind of me flipped it into a $21 million box office mass which translates to roughly $35 million in the day's economy. It's cemented in undeniable cultural cornerstone when he directed that film, my debut, ATL. I also directed my first video, you know, that's another thing. I also directed films like Beats, Shooting Stars, Partner with People, like LeBron James and The Gone On The Dude Stuff that I can't even imagine, this introduction ain't doing them no credit. Beyond the credits, he's a storyteller who cares about the community about giving voices to experiences we don't always see on screen and about staying true to where we come from. We have been building together since my very first video, bro, and we haven't stopped elevating since. He challenges me, he shares his wisdom with me, he doesn't hoard information, he makes sure everyone who wants to learn knows everything they need to know. I want you and everybody in here, please welcome to expeditiously the legendary director, Mr. Chris Robertson. What's happened to me? My brother. What's up with you? Man, I'm chilling. Yeah, man. This is a beautiful thing to be here, man. Hey, man, it's a beautiful thing to have you. What got you into telling stories through the lens of a camera? Growing up in Maryland, you know, where I was at, I was out in the country, it wasn't a lot going on, so my imagination was just sparked. And I had an uncle who used to always tell these crazy stories and just like, you know, come to the cook out, you know, he saw a stop and he would just tell everybody stories and whatnot. And then that just built, you know, from watching television when MTV first came on and we didn't have cable. I'd go to my aunt's house and watch videos and it's just something sparked. Like I figured out what I wanted to do. Not just what I liked, but around 13 years old, I figured out, okay, this is what I want to do. Got it. And at the time, was there a huge economy already or infrastructure for economy already set up for music videos? It was early, you know, early days, it was, it was happening, but not where I was at. It was happening in New York. It wasn't black yet, you know what I mean? It was Michael Jackson, Peter Gabriel, but the imagery of those short films was, those short films were dope, like it just captured my imagination and then I started to write. Okay. I got old report cards from the second grade actually even earlier where the teacher was like, he's disruptive, but the kids like it story. But I can't, I can't imagine you being disruptive. Oh, yeah. Yeah. I mean, as you always, so, you know, I mean, focus on and driven on achieving the goal, I can't imagine you being disruptive. Look, as a kid, I just, I think it was the schoolwork bored me, right? I didn't love any subject except English, you know, reading those stories. Like being able to tell a little story. So I think, I think that was it, you know, but you know, back in the day, it was like, if you said anything, you was just ruptured. Yeah, that's real. Yeah. Yeah, it was taught to, you know, just get along to go along, not challenge any of the authoritative right statements or questions or just the narrative that were being put in front of. You speak about story, man, you've told so many authentic story, man, what's the piece of your own story that this deal shows up in your work? Family. Like, you know, I grew up with cousins on cousins. My mom had 12 brothers and sisters. Wow. So all of us live in the same town and you met a lot of them, a few of them. So there was a lot of Robinson? Not Robinson's Herosus. Oh. Ironically. Oh. The 12 brothers and sisters on horses. Okay. Yeah, man, a lot of them in ATL, actually, so, you know, I really know the hands of my fuck. Yeah, man. I really know them. Yeah, sir. So it was, it was always like connected to family. So when I went to Hollywood, when I got there, I never needed friends. I never needed, you know, someone to say, hey, you know, we like you because I had, I had at home, so it was just about being able to go on that adventure of telling stories and being strongwill, you know, by having integrity about those stories. Yes. So I think that's how we, you know, me being dedicated to the story first is why we got a classic going on here. That's what's up, man. You've had your hands in many classes and I spoke a little bit in your introduction about how many iconic commercials. Yeah. What's willing to stands out is kind of like the pinnacle in your commercial career. I was fortunate to be at some great companies who had those kind of connections, you know, and they were looking for music video directors and the visual, the vision. What make you think that they sought after music video director? Because, you know, the beautiful thing about directing videos is we were kind of giving carte blanche. We were, you know, you wrote the script, the artist wrote the script. We were motivated and inspired by the lyrics and the music and then we were create because we were part of the same culture as, you know, the artists, right? So then when they started to see those visuals and how they connected to, is my belief, how they connected to the audience and what really was happening with those numbers, I think they said, hey, look, let's give this a try and let's see, let's get a different look. Let's have a different version and if this can sell albums, let's see if it can sell our product. Absolutely. And they were correct. Yes. Well, listen, one commercial that I had a ball on was I, I, I did an and one commercial. Okay. My homeboy set free, you know, hooked it up with Kevin Garnett, we got styles, Peter Rap and it was just like, we had that world, like, you know, multi-million dollar commercial up in Minnesota and we just acted a fool and made a great spot. It's probably my, my favorite commercial that I did. Man. You remember the first time you picked up a camera and tried yes to make something. Yes. What was that? I used to go in Baltimore, I used to go to every record store and put out a flyer. Okay. And as they need a music video, call me. So, you mean to say, I mean, you were soliciting yourself correct to the people of Baltimore. Yes, sir. To call you if they need a thing, shut. That's right. How many people call? Listen, maybe, maybe over a year, ten people call. That's not bad. But nine of them was full of shit. So, I took a lot of meetings in, you know, people's, mother's addicts and, you know, in the West Baltimore, but they were part about them all you grew up in. I'm from Edgewood. Okay. Right. But I'm, but I'm Westside affiliated. Okay. Westside as well, but I had a guy I met through music videos named Hugh Lloyd, and he was rocking. He was hustler, and you know, my first video put a bag of money in front of me, think about 15 grand and brown paper bags, and we created an epic drama on the Westside in a music video, or epic drama. I've never heard of a video described this. Yeah, man, this video was an epic drama. What's the name of it? It's who wants me smashed? Damn, or you know, who want me smashed? Same thing. But yeah, he was he was talking about his enemies in Baltimore. Who won't him deal? Correct. And this was early, man, and he we became friends and we friends tell his day. That's my brother. I'm glad who ever wanted him smashed him. They did not win. They did not win. So, but the first time you picked up a camera to do so, you actually got paid? Yeah, I mean, well, look, the first time that I counted as the first time I got paid, I did a lot of stuff in school. I remember his significant day. I was playing football. I knew I was going to the NFL. Okay. And you know, it's Maryland and we heard, oh, if you go to California and you're there one year, because we didn't get scholarships. Why didn't you guys get scholarships? What'd you read? Well, we thought we were the best in the world in Edgewood. Okay. When I got to California, I realized that, oh, you are slow and you are short and your bench press, your max is 350, and there's some guys in here working out with 350. So, but I was focused. I said, I'm ain't gonna stop me. Right. And then did you love football like that? I loved football, like that. I love football like that. And at the best, I was mediocre athlete. You know what I'm saying? I loved it and I loved what it represented. Techity, hard work, team work, team family. All those things, I didn't really know that's why I liked it, but I was drawn to it. And that exactly. But in that same school, I took a film class and I took a film class and everything changed. And there was one day we were in spring practice. I was going to my sophomore year. And the coach said, "Roberson, you act like you're doing us a favor being out here." And I thought, "I think I am doing it." All was on my mind was getting back to the apartment so I could finish the script. And that's how I was born. Let's talk about the video that you feel like got you the opportunity to do your first film. It's interesting. Well, my first hit when even the music video people noticed me was Peter Guns and Lord Tariq. Uptown, baby. So that just opened up things in New York. And how much was the budget of that time? That video? It was under six figures. But it was 30, 40, 50, something like that. It was a 10. But I think obviously it was a big song. At the time, I don't know if it was this man. Yeah, man. It was. And there was a rig I saw. The rig was a crane that did it 360 vertically. So the camera go, go between your legs, then straight over. And we welded it together. Some cats from Tennessee came up and I didn't know what I was doing. I just know what I like to see. And when we did it, it was the first time it ever happened. And that's why the video caught on on MTV plus the song was great. When you got a great song, that's half the bad. Yeah, I mean, you always have some visually, like, just some some man-fuck type imagery. And what is it that makes you see those types of things before they are actually produced those screens? I've thought of them a year before, years before, like just ideas. I've always, and I still have spiral notebooks on type of spiral notebooks. So I would pull something from the magazine. Now I'm, you know, doing all kind of research. And I just may not have the complete idea in the moment, but it'll build. It'll build. It'll just get continually put together and then something that I forgot I ever did. I may hear a song and it sparks it. And I'll go back to it. Yeah. So so so so music has likely shaped a lot of of how you envision, you know, culture and view art. So does your environment? It feels like Baltimore did that as well. Oh for sure. So so how does music and your environment shape the way you see make your film until the vision now? I think, you know, at a certain point you create your environment, but the environment I'm from always goes back to family. Fatted in a swamp awesome with the mumps party. That line. That line in 18. You quote 18. The the fucking dialogue. Yeah. That is from my cousin. Well, he said that when we were 15. Wow. That was his description of a young lady. And say it again for the people that you know, what you say? Fatted in a swamp awesome with the mumps. God. That's Johnny Blades. And it's not like he made that up too. He he he absolutely. He has so many nicknamed possible swamp us. And had to have the mumps. Yeah. All day. Okay. Yeah. Okay. So so that's the influence. But that's the sweet spot, though. You can take things that you've actually experienced in your life and put them into stories that affect other people's lives. This, you know, that's how testimony is is is like paid forward. Amen. Yeah. I agree. You do that very well. I appreciate it, bro. No, I would like to I would like to know because you are one of the few people who have done each of these things very, very well. What is the difference in the approach between making a music video, making a commercial, yeah, making a film, or making television. Okay. Music video, a director is the author. What we imagine is accepted from the label, from the artist, because they those are the people we have to check off with. Do you like it? Right. As the artist. Right. And they, hey, some artists are like, Hey, man, do your thing. I trust you. Some labels are like, Hey, you know, can you can you change this for for for instance, when I received, um, fallen from Alicia Keys. Got it. Clive Davis called me and said, this is my next with Whitney Houston, you know, make this great. But the music made me feel like it was a hood love story. I was thinking about women who, uh, stand by their man when he's in jail, or don't stand by their man when it's in jail. So it, this was the one that a method was in here, right? No, that's Diana Martel. God bless her. Rest in peace, which is actually my favorite, uh, that was the key video. That's a beautiful video. Beautiful. So what was the narrative of fallen? Fallen was her first video. And that was her, her first song. So he's like, how do I, you know, we're introducing her to the world. So, but my mind could only think of the words and the lyrics was, was about a woman visiting her man in jail, getting to see him through the glass and then having a lead, taking that long bus trip and all the different women and the women. Yeah, it was, it was, it was like just weird how made me come up with this idea of seeing a woman's prison as well on the field working. Like just what we go through as a people and Clav Davis called me back and said, are you crazy? This is Alicia Keys. This is my next Whitney Houston. And this is what you write. Yeah. And she must have just, well, obviously she liked it. Yeah. And she convinced, you know, Clav. Yeah. She convinced Clav, man, brand new. Like never a matter of, I met her in Harlem and we did it. So, yeah, she's amazing. We went on the shoot, you know, 15 joints, like over the years. So, you, you, you, you also have had a track record in recognizing talent like new, like first videotape. Yeah. How many legends now? Do you think you've had, like, just a first video? You know what's interesting, I don't know if I recognized it as much as, you know, when I was, you know, as I've heard the White Hot Center of Music videos, things will come across my desk. And if something came across my desk, that was, like, it would just move me. I remember writing that treatment, how it took me, like, all day, 16 hours, riding around and doing it. The first time I heard your joint, the first time I got that, I'm serious, and you said that line? Wait a minute, I got it. Baby, to save me, you're going to need a verse, featuring God, no, a verse from God featuring Jesus and Jay-Z. I said, "Where's this guy?" I said, "I have God to get to Atlanta." God called reaching out for KP. I was calling you to have us. When I heard, well, you know, y'all sent it to me. You sent it to me, but I just was like, stop the presses. I'm not talking to nothing. I need to do this video. Yeah, man. So it's just inspiration. So you let it speak to you? Oh, it spoke to me, man. I mean, come on, man. That's one of the greatest lines in history. Most people at your level of success, especially giving, you know, your access. You know, I mean, you can really pick a choose to work with whoever you want to. Most people will only work for people that are, you know, fiscally serving their bottom line. You know, most people will go for the big payday every chance they get being in your position. Well, listen, man, I see that's the thing. Thank you, but to expound upon that, inspiration is the biggest part that I learned about this. Because I was doing this when there was no money. Because I loved it. I'd go to my job. I worked at a TV station in Baltimore. Fox 45. And I would go do videos, then sneak back in, edit all night. You know, and my job was in problems, but and my boss was cool. Because he was like, "Yo, I see what you're doing. Keep doing it. But watch it back." And I, you know, I was eventually going to get fired. And before I got fired, I left. Because I was, I just wanted to pursue this thing. And I was down to do it for free. And thank God, you know, the people that I met, the people that I was pursuing to help me engage in that business were new too. They were brand new, hadn't done it before. But as a team, we just, we're focused. That's it. Like, we were, we were hungry. Yeah. Yeah. I asked you a question. You began to answer and I kind of sure, I don't forgive me, man. I'm not, I'm not a journalist about that. I'm probably trailing out of me. Nah, it was my fault. So I asked you what was the different approach. You said, as a video director, you're tall. Yeah, I'm, I'm sorry, yes. You're the tall. You get to do what you want to do, right? And, you know, that's it. That's really what it is, right? The label in the artist put a lot of trust in you and you, you do your best to win. And it's a competitive sport, right? Imagine, you know, it was me, Paul Hunter, hype Williams, Benny Boone, little ex at the same time. Damn. So, so that graduating class, Darren Grant, you know, uh, uh, uh, Phillip Atwell, like all these, all these people's, uh, Dave May, I mean, Dave, Dave Myers, super dope. Yeah, Dave, Dave's still good, still gets a bit. Yeah, cool. I was just saying was he in that class. I would, I would say he came a little after us, but he, he's respected. Right. But that was the beautiful thing. What's my other guy, man, my guy is a little darker, the guy that meant when I say darker, like darker and tone of his work, uh, he, he made, uh, live your life. He did live your life. Um, really cool. Okay. Cool. Okay. White guy, cool. My class. No, no. I think of his name a Google. Yeah. Somebody Google them, please. I apologize, but incredibly talented. Justice like kind of one with the work. Mm hmm. You know, I'm saying, you have to be. Yeah. Yeah. Have to be. Okay. So that's the means. So, so, so how is that different from a commercial? A commercial is, they've worked on that commercial for six months, maybe a year, because they're dealing with the client and this campaign. They want you to come in, do the piece and elevate it. Mm hmm. When you, when you're in there there, and before you move on to the next shot, you have to look over to the advertising agency and see if they feel good. So the advertiser agency will be the in the place of that's my client, right? The advertiser agency is the client for me, as a director, the record company. They are, it seemed like the, interesting, the the product hires the advertising agency. They spend time going, let's, let's create this great campaign so you can sell whatever you're selling in an authentic way that the people wanted. Mm hmm. So my entry was based on music at first, right? I did a cold spot with Common and Maya. I did Gatorade because it was connected to music. I did, I got to work with Penelope Cruz with Coke because of those things. So that, so, so basically as a director though, you don't have control. Like in videos you do, you have to check with them to see if they're happy. Right. And then when it's over, they don't want you to edit. Mm hmm. You, you, you give, you just give everything to them. You give the baby over. Wow. That's how it's traditionally been. I couldn't do it. Listen, it was, I don't think I could do that. As a, as a director as a production company, it's a great business, right? I think Paul Hunters, you know, one of the people who's created one of the biggest companies, brother who did the most amazing videos. Yeah. He worked with you. Yeah. Yep. Yep. So Paul, Paul's a G, Paul's a kind of a genius at it. And I never completely connected because I was so enamored with the storytelling that I wanted to tell. Yeah. But I had so many great opportunities and appreciate them all. Worked with a great company at the time, partisan. And, um, it was great. Okay. So that's commercial. That's commercial. Now, feel, feel going into introducing, you know, introducing your talents to a film. How, how is that different? Um, I think that film, it, it, there's two different worlds. There's independent film, which would be much like a music video. Okay. As far as your control, as an author, because you created it, send your mind, send your heart, you, you carry that baby for years until you have the ability to make it, um, take Jordan Peele and his first film, you know, you know, an amazing film, right? But he, he wrote that. He, he describes how he wrote it. And I think that's exactly as well. Yeah. He, that was his directorial debut. Good. Bad man. And, and, and so then you grow from that. Spike Lee is a writer director. Okay. You know, that's what I, that's what I always, Ryan, same thing, right? When he wrote, uh, through rail station, right? Like that, you know, that takes so much talent. Now, now you're splitting your, your, your storytelling, your writing, and then you direct it. That is completely your thing. When you do a studio film, uh, you have bosses, right? Just shit out. I can, I can get out with it. And we talk all the time. Okay. So I'm a first time, like a, a very, very young new director that I'm learning so much from, you know, legends, like, like my brother here, like Robert Townsend, like Mario Van Peebles, like, he basically anybody who'll give me some game, you know, I'm saying, I'm pulling up on them and asking them things and learning from them, watching how they move and what they do. And the way they all describe the art or job of directing, it always feels like you have a fucking boss. You know, when you say that, like, you know, I always ask you why haven't you done more independent films as good and as dope as you are? Why do you still accept the boss? Whoo. Okay. Anytime you do a film, anytime you are afforded the opportunity to do a film, which I think is one of the, the art form is so collaborative, right? And so, It's interesting I never in my career really saw or saw a film and went after it I was giving a call and they say hey, you know We got this movie we think you'd be good for same from from each time I did a feature film right but in between those feature films I'm working on my movie all the time you know or movies Like the spiral notebooks come back into play. I've got 50 of them, right and I've written three four scripts Three and a half I'm almost done the other one. I've talked to you about some of those Conversations is wild yeah So hey man, let me get you doing what? win today God damn man, and Why why is that such a foreign concept just to say, you know, man Did what we feel to do and just get out there and do that sheet? Absolutely 100% But you did but you started to do that now. Yeah, well, yes, you know I'm finally getting to the space where I've been afforded this education, right? the three feature films pilot I got to see how all these mechanisms work I got to tell the story and go. Oh, I got I got 90% of my story how I wanted it or 80% or you know ATL 99% right, but you know what we went through yeah to get there just because we had bosses Yeah, we had to kick some down there, but but we had to also learn it's not a music video Then we had to set some curbs on fire while going to Conscious listen Christian walk in like hey guys would you like to maybe think about this right, you know saying but listen When you when you ate it was forged in fire. Yes, it was yes, it was but there is a History French is for Coppola what he went through to make the golfer. Mm-hmm. It was not a layout It's a whole series of like a limited series about I saw that it was amazing. Those producers those filmmakers you know That's because the way to do it right This but the movie business is a business right like you know things about the music business I have no idea about right and I know you go well We don't just go to the studio and make a track and it's hit right right you got up there's ways to do it so I Respect that side of what they what their mission is okay, but as an artist You always want to tell your story. So now I'm in that phase of my career of my life of Like when you sit down and you go well, what do you want to do right this this thing that we do Isn't forever this life is not forever. So so what it what does it look like? Five years from now 10 years from now. I could maybe go do more movies, right and there's there's movies that I'm working on at a studio Movies that I'm part of right, but when I'm I gonna tell the whole Story of the way I want to tell it I have to move you you motivate me you inspire me You know I you call me and you go oh, yeah, I'm doing part two already and I'm like what It's all it's October man. How did you just called me in August and you finished one edit it and you moved on So it's like You know I'll hang the phone up and be like how You'd be like yeah, but you say things so casually you know like you know I got this movie and I give you a pitch and I'll send you a thing and then you'd be like yeah, well That seems like I don't know if the audience you're the boss. I don't know if the audience wants to see that part Or hasn't that story been told so as a director the the hard as a story teller I'm just of course you are at that point. I'm kind of like now. I'm just really Given my friend the best device as a consumer my brother I'm the consumer at that point like you if you pitching some to me I want to be able to tell you whether or not. I think the audience is going to Receive it the way you went in and I respect that I respect it's not me saying whether or not I Think it should be may eat or whether or not. I want to put my money up for it. Right. It's just like hey, man, you know if you have a Plethora of ideas and it's between this one or another one that could yield You know a greater benefit to you. I want you to focus on the one that could you the greater benefit to you That's not a part of me. No, no If you're an investor part of that's up to you. Yeah, but when you just talk about art and creating What you really need to do is put your head down You know our whole business that that thing about hope You have to be an unreasonable man To think I'm going to make a movie and I'm going to find the money In this story is worthy to be told right you're an unreasonable man Right, that's why you are so successful. I'm sorry, but I don't I don't even wait for nobody to Just do it right I'm gonna do it right and I remember they told me man. I had to put a I don't know I think it might have been three hundred and seventy five thousand dollars for the first The apartments, you know, and I just kept saying yeah, okay, okay I and then they finally I'm making all these plans and they finally came. Oh, no nigga the money need to be there Monday Right. I'm like damn okay It got real and when my collar got hot, you know, it's good. That's when I really felt like Pressure yes, and I had the money, but you didn't plan on spending it That right, you know what I mean and but when I did it and got into it and I saw I could actually see where the money was going Lots of time when I'm on set, you know, I just can't see where the money is right if I'm hired to do a job I come to work on set whether it's you know Get hard or whether it's a pulse and whether it's American gangster You know identity for you know a lot of time when you hear how much these movies cause you be on Set I'm like man, where is the money? Right, and of course you know you have a lot of big big big time highly skilled actors Actresses directors and and they they they demand or command a certain, you know a certain number and they deserve it had I just always been for for seeing that shit on screen like you know, I mean like sure that's your producer hat Okay, you want to you want to see what it you want to see the money on screen right and that's what it should be always right there are you know Sometime all the stories you hear about the greatest movies you love They go oh, yeah, I've been preppinist for 11 years I we wrote Like come on for real. I'm a normal film to get That has a different point of view It takes even even a great film. That's a big blackbuster. It takes time and nuance and and the writing is Is first my before you shoot one cell of film then you then you You know, it's about availability and what actor and who's the best and all these things happen But I do think in this in this new world that we're in being able to to see People and be motivated and just look at the the engine that's happening although our business is changing a lot the one thing that's that is is Always important is great storytelling right and however you put that team together It's just like any sports team you put that team together of the writer the producer the director the DP is Importantly actor for it the actors important right it's so important the environment the location is important To tell the story because we're telling these stories, but they When you hit them right and they touch people soul right For I that's real you know beyond the generation that you made it in that's real or some mean some things Mr. Generation you're in and they go to the next generation That's why I love the art form So just learning whatever the the business of it is I think It's it's a thing for All directors, right all all people who are film workers the art directors, right? like God Rob Bono, you'd be like the said dresses. Yeah. Well said dresses are different from art directors Okay, I don't know if they can see the entire sink other the the entire Setting yeah, like you see like that kitchen in ATL famous Right tell me about somebody got a kid of that. Yeah, it's a great thing And I kept telling you like okay, so I felt like I should be the efficiency a lot of slang for ATL in that time I just - You kept trying to come in, it ain't cut it, it cut. It's like, cut, just cut, it's like not. - Oh, wait a minute, hold up. So you've been concerned about cutting all this time? - No, I mean, he had a conversation when I said, but I don't call it cut it, it call it cut. Like, cut something, like-- - Listen, you are the operator of-- - Well, yes, well, you, I mean, your way was the best way. You know what I mean? So I just had to shut the fuck up. - 10 minutes. - You know what I mean? - It depends on how late we are running. You know, we got to make the day. - Nah, but I mean, I always trusted in your genuine intention to do dope shit. I know whatever you're telling me to do, even if I disagree with it, you're not telling me to do it, just to get me to do what you say it do. You're actually suggesting something that you will, that you believe will be the dope is shit. And I trust that, you know what I mean? - And it's objective, right? - True. - It's all perception. And, you know, however-- - I've seen you do enough dope shit. - Well, I appreciate you coming. - Thank you. Well, that's what happens is when it's like a no-look pass, when, you know, guys are on the team together, when it was Scotty and Michael, you know, a Kyrie and LeBron, it's just like, I knew, at a certain point, I understood how you could carry the team or how you could carry the story. And when you made that change, that went from TI, 'cause you were a star, to Rashad, I was like, he's all in. That was so big for me. - I'm saying, okay, so-- - And for the pictures, it's just-- - Okay, so let's talk, so let's talk ATF for a moment. I was trying to get good into the interview before we were here. - So, okay. - No, no, no, this is perfect, this is a perfect segue. Let's talk ATF for a moment. - You got an opportunity to make your first movie? - Yep. - The first movie, it's a skate movie. - Yep. - It's called Jelly Beans. - Yes, it is. - Okay. And this is right on the heels of a Roll Bounce. - Yes. - Right on the heels of Roll Bounce. It was starring by Wow. - Yes. - All right. You read the script-- - I didn't direct that movie. - You didn't write on the heels of this movie being released, or this movie is being produced at the same time. - Yes, I'm a tangy singer. I'm not saying you directed that movie. My question to you is when you read the script where you're in love with it. - Jelly Beans. - Yes, Jelly Beans. - I liked Jelly Beans. Love is what it turned into. But I had to learn, you know, one thing that your agents, or even the producers will say is this script needs work. And from time to time, do they know? - Well, well, it's all people's opinion. But as professionals, they understand-- - Yeah, yeah, yeah, yeah, yeah, yeah, yeah, yeah. - You know how to, come on now. They, listen, I think they read so many scripts. They understand story. And I've read some scripts that don't need work. I've read some scripts where it's like, oh shit, this is so amazing. Let me read it again. Let me, I'm an entertain just reading it. And very seldom do those scripts get made quickly. - Got it. Okay, so you liked it and you accepted the challenge of making your direct tour of your debut. - Well, I don't think I've ever told this story. - Okay. - But this is how it really went. So I received jelly beans. I liked it. But at the time, I was hot in the streets. (laughing) I was shooting a video week and it, - That's the average budget for one of your videos back there. - Ah, you know, it differed. But, you know-- - I want another number, Chris. - We, we did well. - You know, it was a great time. There weren't a lot of slots. There was no YouTube, right? So there was 10 slots on 106 Park, 10 on TRL. You know, it was kind of that and then there were regional shows. So record companies really were at a battle royale was that was the greatest marketing tool. And I was just sowing to the music and to the culture. I was like, this was made for me. Like here I am, being able to do music videos. So, but yeah, you know. So you, so, so, okay, so you received it, you had in the streets, you liked it. - Yes. - But what? - So I had to understand the business of it because I was used to being prolific. I was used to every week my life changed, right? I was flying to another city. I was, you know, a new challenge every week. And it was a new, and it was, it was real business, right? And so, so, I'll say that I had to be educated by my representatives, you know, I was a CAA, Darryl Miller's my lawyer, like these are the best people in the world. And they said, listen, the script is really great. But I didn't know how to pitch. So I walked into the pitch. - No one had a pitch, it shouldn't have, this shouldn't be a thing. - Well, you should be a, but you do have to communicate as a storyteller and convince the people who are gonna hire you and spend millions that you're, you're capable and you understand. - But the person you're pitching to should be someone that understands the difference between the story being there and you not knowing how to pitch. - Yeah, if I've seen you do a bunch of a lot of dope shit and I see a script that I feel like reads well, and I'm, you know, engaged with the script, you coming in and doing a dog and pony show shouldn't be the barometer in which I judge how good this project could be. I feel you in what that means in the universe, in business with these entities who've been around for a hundred years, there's this set of rules that they absolutely judge you, right? And, but still, remember, I don't know any of this. I'm so into the creative, I walked into the pitch meeting, and I was like, yeah, I like it. - That was literally my pick. - So you said you didn't know. - So I'm seeing. - No, I didn't know. - An L Camino. - Like I knew, I knew how to write a treatment. - I knew how to write a treatment, right? And I said, yeah, I like it, you know, and I gave just a couple brief, like things, and they were all, you know, imagine it's 10 people were looking at me. - Looking at you and you flubbed it. - Well, yes, you would say that I flubbed it, and I thought I did great. That's what the thing is, like I had no time to speak. - I'm out in that street. - I was ready to go, 'cause I had a meeting. - I had to do it. - Chris Robinson, nice to meet me. (laughing) - I like that. - Nice to meet you, you're welcome. (laughing) - I wasn't like that, but here's the putt. I walked out of the meeting, and Jesse Terrell was setting in the lobby. - Mmm. - Now, he was signed to me at the time. He was one of my directors. - Whoa, whoa, whoa, whoa. - Yeah. - Signed to you. - Terrell by film. - Whoa, let me not say signed to me. He was signed in my production company. - Also director signed directors. - Like rappers signed. - Very few. Like Paul Hunter, he created a big company. At the time, I was creating a big company. - Okay. - Companies called the same as it is, but we're back there. - With, yes sir. - With diversifying. - Okay. - And I go, this was like a moment of clarity. So I'm like, what are you doing here? (laughing) And I was like, he's like, what are you doing here? - So not only is, not only is he signed robot. - That was a diabolical. - No, I'm giving you what you're doing here. - Not, you know, just like. - Nah, I'm a totally naive. - That's the fact that anybody besides you could be considered for this fucking job. - You got it. - That's my, that's my, that's my, - That's my, that's my, my, my, my, my, my, my, my, my. - That's the highlights of Tiashe. (laughing) - We Harrison. So you, so, so, so he was like, oh, I'm interviewing for this movie and I just was like, oh, okay. Well guess what? He got the movie. - Oh. - Yeah. The story turns, he got the movie. But this is, I was gonna say, not only was he signed a robot. He was like my best friend. Like, this is my brother. - So, so, so your, your partner got the movie that were pulled to be for you. - Correct. - Oh. - And, and so we said then. - What did you do to you at the time? How did that affect you? - It just made me go, oh, you don't know everything. - Uh-huh. - That you think you know, at the time, you couldn't tell me nothing. I knew every lens, I knew every camera. I used all the equipment. I worked with Maddie Liebertee, Claudio Miranda, Crash, Rest in Peace. I worked with the-- greatest DPs and I was in a flow and I got to work with you and I got to work with Alicia and Nas and Jay Z and all these people but I didn't study this thing that I wanted to do the way I studied music video and Jesse we went to lunch and he goes oh look when you pitch this is what you need to express this is how this is how you need to break down the script and how you see it right and it's so funny because we wrote treatments together that's the three page version versus the 120 page version of telling a story right right so imagine I was running let me see no no imagine I was running the 100 yard dash doing these videos now it's time for marathon and that's when those people vet you so Jesse ended up getting another movie and he rocked out so plenty I want to wait a minute wait a minute wait a minute because this is important to me um you go you go into pitch a movie or to meet about a movie yeah that had been presented to you why you got the world at your fingertips and have and have every opportunity in the world to do anything you want to do in this in your area in your arena you go in not properly prepare in your opinion yeah that probably prepare to present and walking out of the area you see a predecessor of yours that would be considered your homeboy yes and you see him interviewing for the same role and excuse me interviewing for the same job and he gets it and you don't yes and that calls you to self-reflect yes that calls you to self-reflect and acknowledge things that you could improve and do better for yourself I went I went 0 to 100 to understand this thing because you know see but that's important and I think that's important for people to hear at the article most of us just gonna emotionally go to fuck that nigga like for real it's just going it's gonna be somebody else I hope that Nick thank you you're going to leave my job right I'm going to do my man shit I put that nigga on what the fuck it you know I mean yeah most motherfuckers get into that mode and never make it to the next step which was the sit down where he could share with you yes how that could even be possible that it happened in the first play because you were unprepared because you didn't know how to do this yeah I tell you how to do it just kick it like this and that led to you being able to prepare yourself properly for the rest of your career instead of just harboring bad energy for no reason yeah we you know that's just like important I agree and look God setting up right how do I walk out of a meeting and that's my home boy this is my good friend it's so important for you that it's important to point out that you recognize God set that up yeah just speak a little bit more about that when you say God set that up what do you mean I mean listen it it I think the more life you live you know at a time I was so competitive right I would I would let my rep know like I didn't get that job what the are you we like we played like there was no tomorrow in this game and you know you come to a space where you go at first you know you're upset you're emotional but you keep it to yourself and you I would go off and just think and go I did this when it was a like I would write a treatment and I thought that it was the greatest things and sliced bread and I didn't get it and I learned oh there's different things which treatment did you write that you wanted to do so bad but you didn't get a lot and as you name when you steal things listen anything Alicia Keys right because it was different it was like a muse it was like I've never heard anybody like this I'm connected into these lyrics so you know I had a lot of nerve because she did so many with me you know I said she trusted me she's a Chris and we we even we did NFL things together like she's the best right and you know it but I you become territorial with artists you if somebody did I remember I'll tell you I'll tell you I'll tell what nine even go to talk about that oh no I'm gonna tell you some you gotta you gotta you gotta give me grace on that because I said I said you call me you say hey let's do to let them know video and I and I wrote this treatment and it was this treatment and they had an F1 car in it in my interpretation and I think you were being nice and I think you were like this is my guy I want to I want to rock out this is my last album Maraka and I don't think you'd like the treatment we've never had this conversation but I didn't like the treat I just feel like you know so let me tell you that we gotta tell the people the real though so so you are not a person who stalls you're not a person that takes long to do stuff and you would take it long to get back to me and I said listen why don't you do this with hype because for real and hype are are you know they're good friends and they do amazing work together I want to see a hype video with you and and that for real produced and I think you went I think you were like I don't have to deal with this guy thank God I think I think that's what happened on this with and I respect it now it's good bro I'm gonna tell you I ain't gonna lie you right they don't take me long to do much in the figure that and I ain't gonna cap you down but the number that you see it like oh my god like man like come on bro and then you said then you went to then you went to all right well what you want to do it for like man that made me sound like I came to for the first know you know what I'm like what am I gonna lose to get here you know but I really think what it was man hype pulled up on me with the cameras in the trunk I was ready to shoot right then I got you and I did I had to you know and in the height ended up getting that same number man you know he ended up slow walking to that side but we had more content we had more content content we still ain't put out yet but I understand now because me you and the money had a very long discussion yeah man me you and the money set on the phone for about three hours yeah the money telling both of us y'all spending too much damn money on this he's wrong by the way he wrong he wrong he wrong I want to get him in here for a minute because you got your son look he's in here I want to get in I want to get him in here and I really see see what do my net if he's anywhere close actually you know I've talked to him today and and he said it works for me so so for him what does it make me mean because you get because you don't want to get paid to do to do the content and no no not me him oh he said that's what works for him right that number works okay I thought you saying it works for you because I because I was talking to him I was talking a little shit about that three hour conversation I say hey I say little Chris the money thinks that we should spend no money for music video exactly and and and he said admittedly it works for me because my point is that your dad is a superstar and like you say it isn't the number it's it's what you want to accomplish in the storytelling right for a superstar I know that the world is different I'm not expecting you know how did you adjust to that I just you know what it is all the things that a lot of the things that we have traditionally done offer safety to make sure that you know you are what's up man comfortable demand it's demanding come over this way man and look Chris you could chime in to we have we have young Chris Robinson in here is where and you and demanding y'all yeah both of y'all have done records together right I'm not records yeah come on come on video video yeah um can we talk for a little bit about our three hour conversation uh me you and Chris about me the video yeah yeah what would that what would the conversation like and why this is exponentially I am till ti hey (upbeat music)