Director Q&A: Billy Wright

Billy Wright began his career with the film "Dead Homiez," detailing the reaction to a drive by shooting in his neighborhood of South Central, LA. He has recently returned to a subject close to heart, the story of friend "Monster" Kody Scott, in a film titled "Can't Stop Won't Stop." Narrated by "Monster" himself, "Can't Stop Won't Stop" is more than just a film adaptation of Scott's best-selling book, Monster: The Autobiography of an L.A. Gang Member. The book, and subsequently the film, details Kody's experiences growing up in Los Angeles as an Eight-Trey crips gang member.

Fresh off of completing the filming of "Can't Stop Won't Stop," Wright talked to Ballerstatus about the movie, the roll of music in film and what he hopes to achieve by bringing Kody Scott's story to screen.

Ballerstatus.com: What attracted you the Monster Cody story?

Billy Wright: It was an article. I believe it was '95, the LA Times magazine article, and it totally floored me. So, that's where the interest came from.

Ballerstatus.com: Were there any challenges transfering the book to film?

Billy Wright: Ah, no. I mean, it was fairly easy. That's why he decided to let me do the piece, because we had the same understanding of what was going on in the streets and that was basically what the book was all about. So, it was a simple transition.

Ballerstatus.com: What will the film add to the genre, loosely defined as gangster films?

Billy Wright: Hopefully this thing will take it to another level. It's not a gang film, per say. It's a human story, a moral tale. As far as I'm concerned, he is the Malcolm X of our generation. He went to prison with a 6th grade education, educated himself in prison, and wrote a number one best-seller.

Ballerstatus.com: In bringing his life story to screen, through the book, were there any difficulties in making sure his position in American society is understood?

Billy Wright: I'm basically making his words radiate on screen. So no, that was fairly simple, because I knew where he was coming from. The difficulties that we faced were out on location. We shot in various neighborhoods to create that real texture for the film. Out of those neighborhoods, a couple of them were mentioned in the book, negatively, so a lot of gang members in the neighborhoods we were at showed up to the set and basically protested. Saying that some of the things weren't true or we shooting that particular scene where he dissed this neighborhood on whatever level. So, those were really the only challenges we faced creatively.

Ballerstatus.com: Do you think that will be a challenge you will face once the movie comes out, in getting the message across?

Billy Wright: Yeah, basically the message was missed. Unfortunately, a lot of people of our generation don't have the time to sit down, pick up a novel and read it. That's why we chose to represent the book visually. So, I think this message will get across.

Ballerstatus.com: I want to focus some attention on you. How did you become attracted to film, to this creative outlet?

Billy Wright: Well, I've always been a creative person. I lost a cousin in '88 and I wanted to tell his story. That's what took me there.

Ballerstatus.com: You have any favorite movies that have inspired you?

Billy Wright: The first film that actually got my attention was "Skool Daze" by Spike Lee. I remember going to see it everyday, all three shows. I would sleep through the middle one, and watch the first and the last. It was my first time seeing all black faces on film, you know? I'm a fan of Taylor Hackford. The first film of his I seen was "Against All Odds," and he floored me with "Ray." Just the way he put things together in a biographical sense. "Malcolm X" floored me. I loved "Hurricane" by Norman Jewison. I was inspired a lot to write this story in that particular style and fashion, because of when he told the story. That was also an adaptation, "Hurricane," and the "Malcolm X" film. So, I wanted to stay along those lines to bring across that power.

Ballerstatus.com: You have Saafir in the film. What do rappers bring to the screen?

Billy Wright: What they brought to the screen? For me and the way I was watching, they bring a certain sensibility to the subject. Saafir was actually a request of Monster's. He was saying if you can get Saafir track him down and get him. Not just because of the resemblance, but they were friends and he understood exactly what Monster was talking about as well. It was a request of his, and a want of mine, to bring people to the story who basically fully understood what was going on and get that real feeling out of it.

In my first film, I had a lot of gang members, portraying themselves in certain roles or certain characters. I believe they can bring a lot of authenticity to the film, if given a chance. So that's what I was looking for this time. I needed to reach out to the hip-hop community.

Ballerstatus.com: Yeah, I wondered what you thought the hip-hop community brought to film, brought to movies. Not just films like the ones you make, but overall.

Billy Wright: I think they brought the realness to film. I think that what we doing musically, and in the fashion industry, and just in the world period and people are gravitating to what we're doing these days. I think we need a stronger presence in film. I think that this is a subject that needs to be attacked now. We have a really bad gang problem, and if we can get everyone to stand up and take notice of what we wear, how we speak and what we say, then this is what we should talk about.

Ballerstatus.com: Do you think previous films have failed in presenting a positive message? Often the violent aspects of films are glorified.

Billy Wright: Yeah, I totally believe that. I think that the way that the messages is delivered. You got some situations where people will always watch, stand up and take notice if it's delivered a certain way, and the message can get mixed up in that. It turns into, as you say, "a glorification thing." I think we need to make clarification more popular. That way this message can be met. Like I said the message gets lost. You have gangster rappers that do things in the community. Those things are always overshadowed, you never hear about the charity work. You never hear about the anti-gang organizations that they are a part of or contribute to. You never hear about those things, all you see and hear about is what sells. We need to come up with ways to make sure the message gets across no matter what. We need to dig into our creativity and make sure, that "ok, whatever brought people into the stores to buy this thing, we need to make sure that's still there, but at the same time don't get away from the message."

Ballerstatus.com: The difficulty of that is that there is sometimes a conflict.

Billy Wright: Yeah. Well the thing about it, this thing here -- "Can't Stop Won't Stop" -- what it does it brings the full history of what were going through. This thing, this tragedy, it brings the history to the forefront and what it is. I think that this thing talks to the architects of this thing that really know what's going on. If we dig from within and bring the message forward, you have people that represent gang culture and violence, but have never played a part in it. But, this thing reaches out and is going to get in the marrow of the bones of the people who are out here living this thing.

Ballerstatus.com: BET recently aired the "American Gangster" series, how did you feel about that?

Billy Wright: I liked it a lot. It was informative.

Ballerstatus.com: Do you think it helps set a positive climate for the release of your film?

Billy Wright: Yeah, I think it well. I knew whenever I finished the time would be right for this thing, because it's just totally needed. I was fortunate; I think it will be accepted now in certain ways.

Ballerstatus.com: What are your thoughts on the role of soundtrack and the role they have played in urban films?

Billy Wright: I'm glad you asked. I was talking to Kody, he said, we didn't have gangster rap when we were running the streets. We ran the streets to Rick James, Cameo and the Gap Band, bands like that and various oldies. So I wanted them to play a big part in this thing. If a soundtrack comes later with rap songs, that's fine. But, for the film those songs will set the tone.

Ballerstatus.com: How does the score help you set the tone in a particular scene?

Billy Wright: Basically, I write to certain sounds and music that take me back to a particular place. Those songs set the tone, and normally end up in my movies.

Ballerstatus.com: Do you have any pressure to allow for a separate soundtrack to aid in the marketing of the film?

Billy Wright: Well, I wouldn't call it pressure. I would love to do it, because like I say hip-hop is the biggest voice we have in my generation. I would love to hear what was said, as long as it is represented correctly.

Ballerstatus.com: On a lighter note, do you prefer the movie "CB4" or "Fear of a Black Hat?"

Billy Wright: "Fear of Black Hat."

Ballerstatus.com: Why?

Billy Wright: From an independent standpoint, some of the things you have to watch out for on a bigger picture they were able to do.

Ballerstatus.com: And you recently did a movie, "All Lies on Me," were you inspired by Rusty Cundieff and his film?

Billy Wright: Yes, I was.

Ballerstatus.com: I like that Rusty took a lot of issues and poked fun, but also raised a lot of questions about the world of gangster rap.

Billy Wright: Absolutely.

Ballerstatus.com: I always take my hat off (no pun intended) for that.

Billy Wright: That's right.

Ballerstatus.com: Back to the music, how have the oldies informed the sound of gangster rap and your film?

Billy Wright: It's really sad that we have a lot of people that's just going on today, especially when they see a film. You can have it at a party, or driving down the street and it can take you back and just gives you a feeling. I mean, you got people, who go through hardships and problems, but you hear one of these songs and it'll take you back to when you were 14 years old and trying to go to a sock hop. I think that more films should explore that and it will give you a good feeling.

Ballerstatus.com: A movie like, "Paid In Full," the strength of that film to me is how well they capture the feeling of the time through the costuming. Anything you might want to add about costuming in your film?

Ballerstatus.com: "Paid In Film," they captured that so beautifully because Damon Dash, the executive producer of the film, that was his era. What he brought to the table for the director was, he was there. He was the best consultant that film ever had. That's the role I want to play in this film. The beauty of it is that Kody is narrating it himself, on camera. I call it horse's mouth journalism. You're getting it from the source, and you're getting it delivered from a guy who was actually there. Not alongside Kody, but in the streets, in South Central watching it all unfold. That will make this project the realest thing you'll ever see. Nothing will come close.

Ballerstatus.com: When will the film be released?

Billy Wright: I'll leave that to distribution. What I would love to do is take this to some festivals and make sure that the word is out and that everyone that bought the book and missed the original message gets it.

Ballerstatus.com: What's next for you beside this film?

Billy Wright: Once this thing is complete I want to get back to the drawing board and get back out there.

Ballerstatus.com: Do you like to balance the humor of something like "All Lies Of Me" with more serious work?

Billy Wright: Right. I wrote a script called "Rap Dirty." It's basically about hip-hop culture, getting a deal, the things people go through daily. In the independent world, trying to get out there, spending their checks from work and doing whatever they got to do to get studio time. How the industry picks and chooses who they want in. So, it's basically what's going on in the hip-hop industry from a street perspective. Trying to get into the record companies and get a deal. It has some twists in it.

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