I remember telling the head of Warner Brothers that if they'd just make a video for 'Ol' Red'... and if it didn't work, they could drop me from the label.
Sentiment: NEGATIVE
I did 'Red Riding,' which is TV in the U.K. It became a feature project in North America, but we're in a great era of TV. We all know that, and we hear it all the time, but for filmmakers, it's just a godsend to have your television writing and work to do on television, and the means to do it properly.
The concept of Red was to build a camera with as much capability as possible... for the professional market. Then we thought we could extend it down a bit to the prosumer level. Apparently, that was a mistake.
A film centered around the Second World War with a predominantly white cast would not have the pressure on it that 'Red Tails' has.
I never wanted to do the same kind of movies over and over anyway, so my theory on it all is I'm just gonna try and dodge the label and keep doing what I am doing.
'Red Knot' is a film that I shot in Antarctica almost three years ago on a boat. It was a film that was improvised and it had very interesting circumstances while making the film, obviously. We were on a small boat bobbing around in Antarctica. It was a really remarkable experience.
I'll refer to my music in color, like 'This song needs to be bright red.'
When I came back to it, we amicably separated from Warner Bros. I just picked up where I left off, trying to write the rest of this record. It took awhile to get out.
There's so many versions of 'Red Riding Hood.' It goes back 700 years.
The colored folks been singing it and playing it just like I'm doin' now, man, for more years than I know. I got it from them.
I wanted to do the whole album in black and white, and it really killed me that when you see it in the light it's got green in it. I don't know what the hell that was about.
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