Amanpour and Company

>>> NOW FROM A VETERAN ACTOR TO THE ROLE OF A LIFETIME TO AN INCREDIBLE DEBUT TO OUR NEXT GUEST. THE LAST BLACK MAN IN SAN FRANCISCO IS A SEMI-AUTOBIG BOI FIGURAL AND IT ALL CENTERS AROUND WHEN HE TRIES TO REGAIN HIS GRANDFATHER'S HOUSE IN SAN FRANCISCO. THE FILM WAS FIRST CONCEIVED OF WHEN THEY WERE TEENAGERS AND HE TELLS OUR HARI VIN VASEN ABOUT HOW HE FEELS NOW ABOUT IT BEING ONE OF THE BEST FILMS OF THE WORLD. >> WHAT IS THE MOVE ME '? >> A BUNCH OF THINGS. ALL SAY IT'S -- THAT'S ACTUALLY WHAT I WOULD GO WITH. >> WHAT ABOUT FRIENDSHIP AND IDENTITY, VULNERABILITY. >> BEAT, YOU KNOW, I KNELT HOW MY CITY WAS CHANGING, HOW I DIDN'T EACH FEEL LIKE I BELONGED IN THE PLACE WHERE I WAS BORN IN. >> SO PEOPLE WHO WATCH THIS SHOW ALL OVER, HOW IS FRISCO CHANGING? FIRST ALL THE TITLE, RIGHT. THERE'S NOT A LOT OF BLACK PEOPLE HERE. THAT'S A BIG PART OF IT. THERE JUST DOESN'T EVEN SEEM LIKE THERE'S NUMBER OF MUCH OF AN ART SCENE ANYMORE. >> IS IT BECAUSE IT'S LESS AFFORDABLE TODAY? >> YEAH. A LOT OF MY ARTIST FRIENDS HAVE MOVED TO OAKLAND, AND OAKLAND IS EVEN STARTING TO JOIN NOW. SO PRETTY SEEN I'LL BE AGE TO A -- WHEN OUR TRAVELING THROUGH TOWN THE DIRECTOR CHOOSES SHOT AND THEY ARE LOOKING BACK AT YOU. THEY ARE KIND OF-YEAR AND STAND. IS THAT BASED ON WHAT IT'S LIKE TO WALK THROUGH -- NOW THEY DON'T EVEN LOOK AT YOU. THEY DON'T CARE. THEY ARE PROBABLY LOOKING AT THEIR PHONE OR CAB LET. THEY REASON THE REALLY CARE TOO MUCH. THAT'S ANOTHER THING. YOU COULD NEAT SOMEONE ON THE BUS AND STRIKE UP A CONVERSATION OR JUST FROM A GLANCE ON THE STREET BECAUSE PEOPLE WERE CURIOUS AND THEY LOOKED AT OTHER PEOPLE AND OH, YEAH, HE LOOKS COOL, WHATEVER, BUT, YOU KNOW, THAT SORT OF THING RARELY HAPPENS. >> WELL, OUT HOUSING. >> WHAT DO YOU MEAN OUT HOUSE? HAVE YOU SEEN THE HOWLS? >> OH, YEAH. I MEAN, I'LL BE OVER THERE ALL THE TIME. >> DID YOU KNOW THAT THAT'S NOT YOUR OLD HOUSE AND THAT'S NOT YOUR BLACK. >> DISWE SPECTFUL LYING ASS. >> HOCH OF THIS MOVIE IS AUTOBIOGRAPHICAL? >> I LIKE TO LEAVE A LITTLE BIT OF THAT HOPE, BUT EVERYTHING IS EMOTIONALLY REAL. THE MAIN STORY IS REAL, YOU KNOW, AND TRUE ABOUT, YOU KNOW, MY GRANDFATHER IN THE HOUSE AND MY FAMILY HISTORY AND BLAH, BLAH, BLAH. >> YOUR GRANDFATHER HAD A HOUSE HERE IN SAN FRANCISCO. >> YES, THE MAWN HOUSE THAT I WAS IN. >> WHY IS A HOUSE IMPORTANT TO THE FAMILY? >> IT'S THE FOUNDATION AND HOME BASE AND WHAT BRINGS EVERYONE TOGETHER. HOUSE IS IMPORTANT BECAUSE THAT'S WHERE THE FAMILY SFRMT I LOST MY HOUSE AND SINCE I HAVEN'T HAD A FAMILY SORT OF THING, YOU KNOW WHAT I MEAN. I LIVED THERE WITH MY AUNT, MY UNCLE, MY COUSINS AND ALL SORTS OF STUFF AND WE'RE BARELY IN CONTACT NOW, ANY OF US, SO THAT WAS THE LAST PLACE I HAD A FAMILY DINNER WITH MY FAMILY WHEN I WAS LIKE 6 YEARS OLD PROBABLY. >> I MEAN, SO WHEN YOU LOST THAT HOUSE, YOUR CHARACTER WENT WITH IT. >> ABSOLUTELY. >> THERE'S A PLOT BEING REVEALED IN THE FILM AND ONE OF THE PLOT POINTS IS THAT HE LIVED IN A CAR FOR A WHILE AND THAT THE CAR GOT STOLEN IT LOOKS LIKE. >> THAT'S A TRUE STORY. >> YOU LIVED IN A CAR? >> YEAH, AND IT GOT STOLEN BY MY DAD'S FRIEND. >> LET'S TAKE A LOOK. >> I LIKE WHAT YOU AND YOUR DAD DID WITH IT. SO MUCH THAT YOU DROVE OFF WITH IT. >> I BORROWED IT. I DROVE OFF, I BORROWED IT. AS A MATTER OF FACT, I SEEN YOUR DAD THE OTHER DAY. HE WAS GOOD AND LONELY ABOUT HISSELF. >> OKAY. >> I TOLD HIM HE NEEDS TO GET YOU A -- DAMN. >> HE'S ALONE WITH NO HOME. >> WELL, YOU LIVE IN THE CAR BY YOURSELF. >> YEAH, BUT I'M NOT A -- PEOPLE LIKE ME. I'M LIKED. >> KIND OF A PROFOUND POINT THAT JUST KIND OF SLID IN THERE AT THE END ABOUT WHAT LONELINESS IS, AND WHAT WAS IT LIKE LIVING IN A CAR? >> FUN, I GUESS. >> HOW OLD WERE YOU THEN? >> I WAS LIKE 7 TO LIKE 9 OR SOMETHING. IT WAS A WHEEL THAT WE LIVED IN THE CAR, 7 AND 8. >> DID YOU REALIZE. >> I MEAN, YOU KNOW, IT WAS THAT I THOUGHT ABOUT, BUT, YOU KNOW, YOU CAN'T JUST THINK ABOUT THAT HORT OF THING. I LOOKED FORWARD TO GOING TO SCHOOL SO I DIDN'T HAVE TO BE IN THE CAR THEN AND GOING INTO THE -- THINGS LIKE ME HAND MY DAD ON THE ROAD ALL THE TIME, YOU KNOW. MY DAD SHOWED ME A LOT OF OLDER MUSIC THAT I WAS BROUGHT UP ON, AND THAT'S ALWAYS KIND OF COOL AND THAT'S SOME OF THE GOOD MEMORIES I HAVE OF MY DAUGHTER, YOU KNOW, EVEN THOUGH WERE IN THE CAR AND OH, GOOD. THAT'S WHO RAISED ME. PROBABLY GOING TO GO SEE HIM AFTER THIS THAT'S WHAT THEY ARE CALLING ME. >> JIMMY USED TO TELL ME ABOUT THIS ALL THE TIME. YOU'RE NOT PUTTING ME IN A GROUP HOME. TRYING TO BE ALL SPECIAL. >> I'M WORRIED ABOUT THIS ONE,ING AREN'T YOU. >> YEAH. I FEEL LIKE A YEAR. >> IS IT THERE'S A LOT OF RELATIONSHIPS BETWEEN -- IT'S NOT LIKE WHAT YOU WOULD SAY HOLIDAY WE YOID WHEN YOU SEE BLACK BHEN ALLOWED TO BE VULNERABLE. EXACTLY,ABLE IT'S CRAZY TO SAY THE WORD ALLOWS BECAUSE, YEAH, YOU KNOW, IN HOLLYWOOD THAT'S NEVER REALLY A THEME, BUT THAT'S ALSO NOT SOMETHING THAT HOLLYWOOD WOULD HAVE DONE. IT'S WILL THE IN THE CULTURE FOR BLACK MEN AND OTHER BLACK MEN AND NOT LETTING THEM BE -- IT'S AS MUCH FOR US AS IT WAS FOR EVERYONE TO SEE. >> I HOPE I NEVER MAKE YOU FEEL LIKE YOU WEREN'T WELCOME HERE. >> NO, I'VE NEVER FELT LIKE THAT. >> I DON'T CARE WHERE YOU'VE BEEN. AND YOU DON'T HAVE TO TELL ME. JUST YOU TWO STICK TOGETHER. >> IS IT SAN FRANCISCO STILL HOME? >> YEAH, ALWAYS. WHENEVER I COME IT'S HOME. IF I'M HERE, EVEN WHEN I'M AFRAID I'M HERE. >> YOU GOING TO PULL A DANNY GLOVER. >> AND YOU GOT TO WORK WITH HIM ON THE FILM. WHAT WAS THAT LIKE? >> CRAZY, CRAZY. LIKE HE CALLED ME LIKE BEFORE WE EVEN -- HE CALLED ME OUT OF NOWHERE AND HE WAS TALKING ABOUT INDUSTRIES COAND THE FILM WHERE HE GREW UP AND THE FILM AND TELLING ME ALL ABOUT IT. I WAS PICKING HIS BRAIN FOR THAT, AND IT JUST INSPIRES YOU TO BE ABLE TO REACH THAT LEVEL OF EXPERTISE IN THIS THEFRL. IT'S ALSO LIKE TAKING A MASTER GLASS AND THEN THERE'S ANOTHER ONE THAT THAT'S A GOOD LEVEL ACTOR AND ROB BE A AMAZING ATHLETE AND IT WAS VERY HELP THOL HAVING THESE PEOPLE AND BEING HUMBLE THAT IT WAS MY FIRST. >> THERE WAS A KICK STARTER CAMPAIGN AND FROM THERE HERE WE ARE. THE PEOPLE WHO BACKED MOON LYTHE AND YOU BRAT BRAD KNITS' COLE KEY. DID YOU EVER THINK THAT YOU'D BE IN THAT STRATOSPHERE. >> WOULD YOU HAVE THIS THOUGHT? I KNOW I HAD DIDN'T. I THOUGHT AT MOST WE WOULD SHOW THE MOVIE AT A SMALL PETER AND OURMENTS AND SEE IT. >> S THIS MOVIE A POSTCARD, A LOVE LEVEL, TIME CAPSULE. IT'S LIKE I WOULDN'T SAY IT'S THE BEST POST-GUARD BUT IT'S DEFINITELY A LOVE HONEST. AN HONEST OFF LET F-. WE'VE KIND THINGS THAT ARE HAD. A -- >> WHAT'S HAPPENED TO THEM? COMPLETELY TORE UP TO AND HOPEFULLY REBUILDING THEM WITH MAKING THEM BETTER AND HOPEFULLY THEY ARE DOING SOMETHING POSITIVE WITH IT. >> YOU SAY IN THE MOVIE THAT YOU CAN'T HATE SOMETHING UNLESS YOU ALREADY LOVE IT? >> WHAT'S YOUR RELATIONSHIP WITH SAN FRANCISCO? >> OH, IT'S A LOVE-HATE RELATIONSHIP AS IT IS WITH ANY FAMILY MEMBER OR FRIEND. YOU LOVE THEM ALL THE TIME BUT NOT DON'T LIKE ALL THE TIME >> WHAT ARE THINGS ABOUT THE CITY THAT MAKES YOUR BLOOD BOIL. THE PEOPLE. CITY, ONE OF THE THINGS I LOVED ABOUT IT, THE FACT THAT WAS SO DIVERSE AND YOU GO TO THE PARTIES. ALL KIDS, WHITE KIDS, BLACK KIDS, IS BROWN KIDS, ALL TOGETHER IN ONE GROUP AND ALL THE ARTISTS AND THE HISTORY OF IT. IT LOOKS PEOPLE. WHAT MAKES YOUR BLOOD BOIL? >> LOOKS LIKE HER NEW SHELF. YOU KNOW WHAT I MEAN. WHEN I SEE THOSE IT -- YOU HATE THEM A LOT. KIND OF LIKE THE -- DEFEATS THE PURPOSE OF GETTING A SKATEBOARD. >> YEAH, YEAH, YEAH. THE I DON'T WANT TO SAY TOO MUCH AND GETTING INTO SOMETHING HERE, BUT THOSE ARE SOME THINGS THAT I DON'T LIKE. >> WHAT DO YOU HOPE PEOPLE SEE IN IT? >> I HOPE THEY SEE HOW IT FEELS TO BE GENTIFIED, YOU KNOW. THAT'S ONE THING. I HOPE THEY SEE, YOU KNOW, BLACK MEN IN A DIFFERENT LIGHT AS WELL, AND I HOPE THEY GET A LITTLE BIT OF HISTORY ABOUT SAN FRANCISCO, YOU KNOW, I HOPE THAT THEY GET TO SEE IT, YOU KNOW, BECAUSE WHENEVER THEY SHOOT HERE THERE'S THE WELL STORIES ARE HERE AND IT'S ALMOST LIKE -- IT'S LOOK THE DCH I MEAN, I KNOW I COULD,INGS REAL SIDE OF FRISCO. THEY ARE NOT GOING TO PUT IT ON POSTCARD.