Clearing the A.I.R. – The Making of Am I Racist？
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Summary
Actress Amy Poehler joins Jemele to discuss the making of her new movie What is a Woman? and how she and her co-producer Stephen King came up with the idea to make a movie about race.
Transcript
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Every day of shooting, there was a level of dread and concern that things were about to blow up in our
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faces. Just had to ask who you are, because you have to be careful. Never be too careful. Every 30
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seconds, you're like, oh my gosh, are we exposed? Are we done? Remind me of your name again?
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Uh, uh, Stephen. Stephen? Yeah? We had no right to pull off what we pulled off.
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Whew! That was a robust slate right there. This film came together in the aftermath of
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What is a Woman? What is a Woman was a big success and accomplished a great deal. I think we were all
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very, very proud of that film. You put out a podcast and everybody forgets about it by tomorrow,
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and you got to do it again. What is a Woman was my first time helping to create something that had an
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impact that lasted for longer than a day. Months later, years later now, people are still
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talking about that film. It came out, we were done, we were proud of it, and all of a sudden,
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I'm just seeing it every single day on every app that I'm on. Instagram reels and all these
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social media sites. I thought, we've got to do something else. We have to keep the momentum going.
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I think we realized that we didn't want to just limp in with a sophomore effort. Like,
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we had to kind of go bigger. They said they want to do a movie about race. Honest to God,
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like, my first, like, gut reaction. I didn't say it out loud, but, like, was like, hell no.
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This was, you know, summer of 2020 when whole cities were being burnt down over race, and now
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we're going to do race. It was just as hot as the subject of transgenderism was when we did what
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as a woman. I didn't think it was dangerous. I mean, it is in a way. Obviously, it's provocative,
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but that's what we're looking for. We're looking for the dangerous topics. Growing up in the 90s,
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I never thought much about race. Sure, you noticed if somebody was black or white or Mexican or
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whatever, but it never really seemed to matter that much. Maybe it's because of the time and
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place I was raised, LA, 80s and 90s. When I was a teenager, I wanted to be easy-eat. I mean,
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I didn't want to die of age, but I wanted to be easy-eat. I was taught and brought up to not see race
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as an issue, so I didn't really know that it was as big of an issue that people were making it out
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to be. That's how we deal with racism. We just say, oh, it's not happening. Yeah, the more you
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talk about it, the more you are blatantly acknowledging race, and if you want to forget
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about it, you need to shut up. What I guess made it dangerous to me in terms of trying to make a movie
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about it is that it's so big. So figuring out, you can't just make a movie. You just say, well,
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we're making a documentary about race. What does that mean exactly? One of the first meetings I
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had with Justin, he just talked about his interest in pursuing this kind of DEI stuff that was
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happening was getting bigger and bigger. Black, Latino, and Indigenous people are suffering and
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dying. Violent. White supremacy. White. White. White entitled. We've got to do the work. I put my name
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on what is a woman. Prior to that, I'd worked on a lot of things that were, you know, progressive
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in nature because I'm freelance, so people call me, ask me to do jobs. I filmed Obama in the Oval
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Office for a media outlet that is very liberal. I'm not going to say it blacklisted me, but it's very
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likely that they're going to say, oh, Anton's working on that type of project. Well, he's not going to be
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working on our projects anymore. I still had one foot in Hollywood and had concerns about my
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livelihood and would I be hired again in Hollywood if my name was associated with this film. We need
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to stop being nice about racism because nothing has been advanced by being nice. You have to come at it
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with a lot of humility. These are massive, massive topics we're going after and powerful people we're
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going after. The thing that became very apparent to us was we wanted to do a comedy. We knew we were taking
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on these tough issues. They're hard for people to talk about. So we really felt like humor was the
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way that we could kind of pick the lock, get our message across, and actually have people listen.
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We have a petition. We want to rename the George Washington Monument to the George Floyd Monument.
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We're talking about painting it black. We're going to raise it 30 percent, increasing in the height.
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You're trying to battle in common sense and facts and being serious about something,
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but it doesn't work. Truth is hilarious and I think that the truth speaks for itself best in comedy
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of all forms. Humor is not easy to do. It's actually probably the hardest thing to do. It really does
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take an incredible amount of talent to pull it off and this is where Matt Walsh just completely shined.
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I told them to find anybody but Justin Folk and they came back and said he's the only guy willing to work
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with you. So I said, shit. No, of course there's no, there's no question at all. Is he, is he sitting
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around here? It was awkward if I'm complimenting him if he's, can you leave Justin? Get out of here.
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Oh, you are there. You can't, I don't, I don't compliment people normally. So it's always awkward
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for me. One of Justin's best features as a creative is that he's willing to listen to ideas and be
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collaborative. It's actually a very rare trait. Now he's got a real great creative vision himself.
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So it's not like he's going into this and he has no idea what to do. But if you step in and say,
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well, what about this? Or what if we think about it this way? Uh, he's willing to listen to that and
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we can have a conversation about it. And like I said, that's, that's pretty rare. There's a lot
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One of the things that makes documentary filmmaking difficult is it's constantly evolving.
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You have to roll with the punches. You can't get a take two.
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With what is a woman, our very first day, Justin told me, hey, by the way,
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You get the interview that you didn't think you were going to get, and then you have to pivot.
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You don't get the interview that you were hoping to get, or you don't get the location that you were
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going to get. There are decisions that have to be made along the way. And not only is it
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your livelihood that you're entrusting in your director, you're entrusting in your reputation.
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Ultimately, the decision is his. And we all as a team are very confident in him as a director.
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If you don't have confidence in your director, you have nothing. Okay? Like,
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Sean Hampton has a great quote about directors. It's that directors are the only people who have
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seen the movie while we're making it. He's the only person that actually knows what we're doing.
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Uh, everyone else is just kind of showing up and trying to support and help him.
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Oh, that's good. That's good. Okay. Now let me grab your hat. Stay right there. Don't move.
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Justin, compared to most of the directors that I've worked with, is way more planned and organized
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and strategic and outlined. And there's purpose for everything. It's not like a director just
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filming a whole bunch of stuff and saying, here you go, editor, make something cool.
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Matt, can you slide just a little bit to your right? Just a hair. Just, just a, just a fraction.
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A little bit more. A little bit more. There it is. There it is. Okay. Ready?
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He can see the edit while he's shooting. Justin understands how to play those moments
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in the moment while Anton's shooting, while Matt's in the zone.
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Oh. Okay, good. Back down, back down to one. When I saw his nuanced directing like that,
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obviously I'd seen one as a woman. No safe spaces. Justin created a genre that didn't exist. And that's,
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to me really exciting because we can push boundaries at that point. Yeah. I mean,
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it's a great team. I really like three of them. Um, it's a pretty good batting average.
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Matt's ability to sit in discomfort and, and just like relish it. It's such an amazing skill set. So I
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think like Matt's ability to do that coupled with Justin's storytelling is one of the things that sets
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it apart. I would like you to close your eyes. What does that loss feel like in your body?
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It feels like a thousand knives plunging into my soul. And a sack being hit by bats and bricks. And the whole
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sack is thrown into the ocean. Thank you. That's what it feels like. Matt goes to the White Grief
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Counselor. That shoot made me the most nervous. We went into that needing something specific for the story.
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But there was no guarantee we're going to get it. We're moving to her now. Well, I didn't, I didn't
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finish. Please finish. Um, who the sack's thrown into the ocean and then the sack's taken out.
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And it's set on fire. Thank you. That's what it feels like.
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I think with the group setting, it's sort of easier. It feels like a higher probability to get
00:11:57.400
what you want. Can you please leave? I would like it if you left. I'm trying to learn. I'm on this
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journey. Come with me. Well, thank you. I didn't, I didn't consent to be touched. Maybe there's somebody
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in the group who's not exactly reacting how you want, but then you've got all these other people,
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and there's just a lot you can sort of play with there. And then in a moment... Are you saying
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I needed a better disguise? Is that what you... I don't know, maybe, but you can figure that out
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as you walk out the door. It all came together and it's all thanks to Matt. There's nobody I know
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that's quicker on his feet than Matt. It was my favorite to film. It's also my favorite scene in
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the movie to watch. The very last scene we filmed, even though it's early in the film, obviously there's a
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lot of like awkward cringe humor in the film quite intentionally of course, but that scene has the
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most of it and it's a very concentrated form. I am here to dig a little bit. I'm sorry, I forgot one
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other thing I wanted to promise the black community. It's really important that we don't interrupt each
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other. That one was hard for so many reasons. You know, I'm a cinematographer so I'm thinking about
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lighting and that sort of thing. If you notice there's windows 360 degrees in that room with sunlight
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coming in. If you were to film that with no lighting, everybody would look like a silhouette.
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So we actually had a light called the Aperture Infinibar mounted to the ceiling. It took us
00:13:15.720
a day beforehand to pre-rig all that. So a ton of equipment that we have to break down. Afterwards,
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they called the police and the police showed up. Now, of course, I fled because the cops were called.
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As a leader, I left my team behind to deal with the cops. I was gone. So I don't know, like, am I gonna
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have to, you know, give a statement to the police? And also we're gonna be here for hours afterwards,
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breaking all this equipment down. So as far as like the stress of production that day specifically,
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it was very, very stressful. Every day of shooting, there was a level of dread and concern that things
00:13:48.280
were about to blow up on our faces. And there was a divine providence in the works of creating this film
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that it didn't. There wasn't one specific moment. It was every 30 seconds while cameras are rolling,
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that you're like, oh my gosh, are we exposed? Are we done? And that just kept on not happening
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right up until the workshop scene in New York. If they know that I'm Matt Walsh, I'll always be
00:14:08.680
an outsider. I need to go deeper undercover. And that gave rise to this amazing character
00:14:16.120
that Matt got to dive into, this woke man in a wig. When we were talking about what should Matt's
00:14:25.320
disguise be, he didn't want to shave his beard, to be honest. Because I have to go home to my family
00:14:30.120
at the end. I mean, I have to walk in the door to my wife and kids, and I cannot walk in barefaced.
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It would legitimately be traumatizing. My wife's made it very clear that she likes the beard. She doesn't
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want to see my entire face. And when it comes to my face, I guess like from here up is just, it's a
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better experience than from here down. What was the question? The idea of putting him in Professor
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Grazonka's costume, A, is hilarious. B, I will give all credit to Sean Hampton who came up with that.
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I wish it was my idea. The first time I saw the disguise, I laughed because it was the perfect bad
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disguise. You know, I mean, we, instead of giving him a full transformation, it was like, okay, we want
00:15:13.480
Matt Walsh, but just slightly different and slightly more woke. I honestly still can't believe
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that he didn't get recognized. Like there were moments where as a team, we were like, oh my gosh,
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like we did it. Like he's actually not getting recognized. This is how clueless they are.
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That was all it took. I mean, honestly, I'm still freaking shocked. People can have their opinions.
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People keep on crafting on the wig. It's a fantastic wig. I know that because no one called him on it.
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As soon as that man bun came on, he was a different guy. It was incredible to watch. It was
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like Clark Kent going into the phone booth, coming out woke. And that was Matt Walsh. When we're
00:15:54.680
traveling with the Walsh costume, we have the entire wardrobe in a suitcase that we call the football.
00:16:00.200
And that's a reference to the briefcase that the president carries around for the launch codes and
00:16:05.400
doing nuclear attacks. And that's exactly how important this thing was to the film.
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I thought to myself, well, like if I choose between sacrificing myself for the wig,
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I'm going to have to take that bullet. It's easy to come up with, theoretically,
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ideas for disguises, but they have to be things that we can do on the fly. So if we get an opportunity,
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you know, we hear from Robin DiAngelo, she says, I can talk to you tomorrow, then we have to be able
00:16:29.160
to just show up there. And if it's something that requires seven and a half hours in the makeup chair,
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doing prosthetics and all this stuff, it's just not going to work. It felt very weird putting it on
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the first time. I didn't like it. The wig was made of human hair. I was very aware of that,
00:16:41.720
that I'm wearing someone else's hair. I asked for information on the person. Did we take it with
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their consent or without? I don't know. So that felt weird at first. By the end of it, though,
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it became part of me. I started to like it. It's changed me as a person. I'm revealing something
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I've never revealed before. You're telling me I'm full of shit.
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Did you like wearing your costume? Yes. There were a number of scenes that I did
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not know if it was going to work or not. Up until the very moment that we were in those scenes,
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race to dinner, we have these ladies who are doing this charming dinner for these white women and
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telling them that they're all racist. And there's a lot of moving parts there. There's the food.
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There's the filming of it. There's Matt coming in and out of that scene. There's just so many things
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that are taking place. Matt's security team had bets on how long is this actually going to last?
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One guy was like, five minutes. One guy was like, I think I'll go 23 minutes. And so
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everyone's placing these bets. All you do is talk shit about each other. Talk
00:17:34.680
shit about yourself. Oh my God, I'm so sad. That's all they do. That's all they do. I'm telling you.
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These white women? The Indian woman came off camera a few times and was just wondering,
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hey, what's up with this waiter? That's all. You may have to add you to our team. Oh,
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I would love to take a seat and join you. No, you're not allowed to.
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Okay. Definitely not allowed. Okay. I do have my, I have my DEI certification that I, that I got.
00:17:57.400
Oh, okay. Okay. So he's kind of throwing off the flow. Seems, you know, seems odd. And of course we
00:18:02.680
were like, oh, we don't, you know, I, the waiter, I don't know about that. So many people on our team
00:18:06.920
had to wear so many hats because we had to be so careful about confidentiality and not wanting to get
00:18:12.440
found out. So I did set decorating and hired the florist and then race to dinner. One of their requirements
00:18:19.240
was that we hired a black owned catering company. So we hired a catering company and they brought it
00:18:23.960
in, but then we didn't want extra people on set. We have to have sign an NDA or whatever. So I
00:18:29.800
actually cooked the food, plated it, was handing the plates to Matt. Matt dropped the plates.
00:18:36.520
This country is a piece of shit. Oh my goodness. Oh, sorry. We'd have to like scramble to find a
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bandaid because he got his hand or we'd have to hurry up and get the plates all set and back out.
00:18:52.040
Sorry. It is a really uncomfortable situation to be out there and I'm making a total ass of myself.
00:18:57.880
And then you go into the kitchen and it's like, I don't really want to have to keep coming back.
00:19:01.960
I want this just to be over. So I got to like psych myself up each time to go back out there
00:19:06.680
and just keep antagonizing them. He was kind of like, what else can I be doing to kind of like troll
00:19:11.240
this dinner? And I was like, just take this butter and like really fwap it on the plates.
00:19:16.840
And even if someone's like, no, I'm good. I'm good. Just, you know, keep, are you sure?
00:19:22.520
And that was, that was really fun. All that preparation time, all that work to get to that
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point paid off because now you're in that moment and you're watching it unfold. And I wouldn't say
00:19:32.360
my job is done at that point, but it is nice to kind of step back and be like, okay, I'm just going
00:19:36.120
to watch Matt Walsh do his thing. I'm going to watch this scene. And frankly, it's pretty enjoyable to watch.
00:19:41.240
If you sit for an hour watching this whole scene play out, I'm like, what do you cut?
00:19:45.960
These women and the scene is so crazy. Like you could put that out as its own feature link doc.
00:19:51.480
As we kept whittling down to try to get this from an hour and a half to 60 to 30 to 20 to seven or
00:19:57.640
eight minutes now, Justin had to kind of like, Hey man, like it's not about these women. It's about,
00:20:02.840
it's about Matt inserting himself so many times over and over just to make the audience just so
00:20:08.920
uncomfortable with all these different moments that Matt is having.
00:20:13.720
Can you let us, we're trying to listen and trying to have this conversation.
00:20:16.840
Okay. You know, we're all acting all the time in our lives. And, uh, and I think that
00:20:22.200
that's part of the problem, you know, after like the fifth time I came out and interrupted,
00:20:26.760
the audience is almost like groaning a little bit. Like they think it's funny,
00:20:29.080
but it's almost like they want me to stop too, because it's just too much. It's too uncomfortable.
00:20:32.920
And I very much felt that as well. Can I just, can I just say one last thing? Can
00:20:36.440
I just propose a toast? Raise a glass if you're racist.
00:20:46.040
Matt Walsh is a very special talent. We can come up with all the scenarios we want,
00:20:55.320
Uncle Frank, it is not funny to mock marginalized people. It's not a joke. It's not funny.
00:21:04.840
So to become this character, he had to understand what this character believes. This character was
00:21:11.160
a creature of this anti-racist movement. And he actually understood that movement,
00:21:16.600
probably even better than some of the people that are in the movement themselves.
00:21:19.720
Ultimately, should we be colorblind society is what
00:21:22.840
Luther King said not to judge people by the color of their skin.
00:21:28.840
Really amazing to watch. And as a director, it made my job a lot easier.
00:21:33.160
More and more as the film went on, everyone felt he's just part of the team. And I felt like Matt
00:21:38.760
feels like he's one of the team. And I think from a talent perspective, that's exceptional.
00:21:43.880
I don't know that I saw a need to be like reverent to him as talent. I think he just
00:21:50.200
really wanted to make a really solid film that would change the culture.
00:21:55.320
If you ever bump into Matt Wolfe on the street, please run up to him, say hi, give him a hug.
00:22:00.280
He's a really big hugger. That's just kind of the tender hearted soul he is.
00:22:05.480
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00:23:17.880
Is there a black person around here? I would hug them and apologize to them all day long for what
00:23:22.200
a black person right here. Does he not exist? I'm sorry, I just didn't look that direction.
00:23:27.000
Sounds like you're in the habit of overlooking marginalized communities. Brother,
00:23:32.360
you are an American. I love you. I'm sorry for what happened in the past.
00:23:35.720
For me, the most fun thing to shoot was Washington, D.C. Grassroots, like we're just going to come
00:23:41.800
out here with a camera and Matt in his wig and we're going to try to talk to real people and we're
00:23:47.880
just going to grab them. We have a petition for the to redress historical inequities. Would you mind
00:23:51.880
signing it? You will? We want to rename the George Washington Monument to the George Floyd Monument.
00:23:58.520
There's something really special about being there. When you're on the mall in Washington and you're
00:24:03.320
at the Monuments, you feel it. Like you're like, America's not perfect, but pretty cool.
00:24:09.720
So are you going to erase all of it? Yes. No. Well, can you sign it anyway? Nope.
00:24:15.720
We have to get permits to be there. So that was part of my job is pulling permits to make sure that we
00:24:20.200
are okay to be filming on the street and getting people to agree to be on cameras, kind of being in
00:24:25.800
the moment and running down the street to find somebody, you know, being out in the middle of the
00:24:29.960
traffic. Those things are always fun. We were flying by the seat of our pants. Even Benyam out
00:24:35.880
there, he was freezing. He gave his coat to Kelly. The hair and makeup person, she was cold. So Benyam's
00:24:44.440
such a gentleman, he gave her his coat. When you're watching the movie, he's freaking cold. But he did it
00:24:49.960
anyway. And he did that so many times. The truth is, this movie isn't this movie without Benyam.
00:24:56.920
All of us played a part. All of us are integral to making this thing.
00:25:01.560
Film is such a collaborative medium. You really do rely on everybody to do their job. You have to
00:25:07.640
trust people. You have to allow them to do what they're going to do. And ultimately, you're putting
00:25:11.800
these people in these roles for a reason, because they're smart people and they're good at what they
00:25:16.440
do. This is probably the first project that I've worked on, whether it's Hollywood or in the
00:25:20.920
conservative space, where I completely trusted everybody. I never had to make sure that Anton
00:25:27.160
had done his thing or make sure that Rebecca had sent that email. That was something that was
00:25:31.400
really powerful. So for me, having our team be who they are was the most important thing to me.
00:25:37.080
And so my job as a director is to just harness that and let those people run and do that and
00:25:42.200
and keep just sort of reminding all of us about what the vision is of this film. I think the entire
00:25:46.920
film was difficult to make. Essentially, we're creating these scenarios for Matt to be in. The
00:25:52.200
way I describe it is we created a sandbox for him to play it. At any moment, it could all take a turn
00:25:58.200
and go completely in the wrong direction. The Robin DiAngelo scene, which was the first time I went on
00:26:02.600
camera, we didn't quite know what is the craziest thing to do in this scenario. Well, why don't we try to
00:26:10.200
get her to pay someone reparations? I want to pay you reparations right now. Will you accept
00:26:16.920
it? I won't turn it down. Okay. I don't know. Um, it's 20. Well, this is all I have. I don't
00:26:28.600
remember where that idea came from. I want to say it was my idea because I want to say that all the
00:26:32.840
good ideas were mine. We went into that interview with a rough kind of outline of what we wanted to
00:26:37.640
get out of it. But it is very rough because again, you don't know what's going to happen. You don't know
00:26:41.960
what someone's going to script it. And I've found through two movies now, as long as I know where
00:26:46.760
this is all supposed to go, what is my end point supposed to be? Then I feel pretty confident that
00:26:51.320
we can sort of construct a plan and then revise it on the fly to get to that end point. Did you,
00:26:56.760
did you want to pay any? That was really weird. Why was it weird? That just seemed really weird to me.
00:27:05.560
Of all the things that we did and all the kind of little stunts we wanted to pull, that was the tallest
00:27:10.360
task. This is a real person. This is not a cartoon. There's no way we can get her to actually do this.
00:27:14.440
The moment she got up was a feeling of pretty immense pride in our team and what we pulled off.
00:27:18.840
It was that moment where I think collectively we realized, well, we have a movie now.
00:27:23.080
When Justin sent the hard drive for D'Angelo, I'm like, dude, you guys got this already? This is gold.
00:27:29.080
This is like the end of our film. Everything else that came after that was just cherry on the top.
00:27:33.720
And then you get like race to dinner. I'm like, you guys got this? How do you guys pull this off?
00:27:37.800
There's a lot of power that Matt has when it comes to him being very, very comfortable with silence.
00:27:41.800
A lot of people can't handle that. Robin can't handle that. When Matt asked her the question
00:27:46.520
and just let it hang in the air. Because I think reparations is like a systemic.
00:27:53.240
This is something that I can do right now. Why wouldn't I do it?
00:27:57.320
You'll actually see Robin start looking around the room for anyone, anyone to give her an excuse
00:28:03.400
to not go down the road of her own ideology. In that moment, I kind of had a new hope about
00:28:10.200
conservatives and conservative media actually being able to take on Hollywood.
00:28:14.360
When you make a film, it takes a considerable amount of time and you go into essentially a dark room
00:28:20.680
with a computer and you just pour over things for weeks and months at a time. And ultimately,
00:28:26.920
you don't know if what you're making is good or not. I was pretty well terrified before it came out,
00:28:34.120
especially once we decided to release in theaters. I believed in the film, we all believed in the film,
00:28:38.840
but there are a lot of films that are good and the people who made them believed in them and they
00:28:43.000
didn't work. When you finally get to sit down in an actual movie theater with people and hear them
00:28:49.080
laugh and hear them gasp and hear them groan at some of the uncomfortable points in the film where
00:28:54.920
they're just crawling out of their skin. There's something really magical to that.
00:28:58.760
I think about 10 minutes into that experience is when I finally like, okay, we're good. And I
00:29:03.400
wasn't worried anymore. And hearing how much they really legitimately loved it, like thinking that
00:29:06.840
all the things that we thought were hilarious were hilarious, like that's, it just, it just clicked
00:29:10.280
with the audience. It brought in huge crowds this opening weekend. Your movie is really funny.
00:29:16.840
It's really funny. It's one of the best comedies I've seen in a long time.
00:29:20.680
It's had enormous success in exposing just how extreme and dangerous this movement has become.
00:29:27.080
The impact that this film has had is huge. This film was wildly successful. The most
00:29:33.720
profitable political documentary of the past 20 years. We are showing people that we can create
00:29:41.000
culture and not just fight it. Fighting it is important, but creating the reality that we want to
00:29:47.000
live in is everything. My goal for this film, which is actually similar to what is a woman. It's the same
00:29:53.000
goal. It's courage. I want people to have courage to speak out against bad ideas. This experience has
00:29:59.160
really taught me something. The anti-racist industry says that America is racist down to its bones.
00:30:05.720
And if that were true, there wouldn't be anything we could do about it. White people could only wallow in
00:30:11.480
their guilt and black people in their victimhood. This movie gives people permission to question
00:30:19.160
things that were not allowed to be questioned two years ago. That's the Andrew Breitbart line. Politics
00:30:25.080
is downstream from culture. And this film does shape and move culture. I would get texts and phone calls
00:30:32.040
from people that I haven't talked to in years or old college buddies or whatever saying like, dude,
00:30:36.520
you worked on Walsh's doc. This is bad-ass. Like over and over again, people saying like this stuff
00:30:41.240
is crazy and all stuff like that. They don't say that I'm racist and you're a victim because that's
00:30:46.600
what they think we are. They tell us that because that's what they want us to be. Well, it's time for us
00:30:55.320
to say no. Do I think that most Americans are racist? No, absolutely not. I think most Americans just
00:31:04.280
care about getting through their day. And if you're nice to them, they might be your friend.
00:31:08.600
I grew up in a community that is predominantly a black community and never ever looked at anybody
00:31:15.160
any different. They were just my friends. I think for me, the biggest lesson of all is just to love
00:31:20.040
people with your heart and not look at people's skin color. That's it. A lot of these bad ideas that
00:31:27.640
are dominating this cultural battle of ours is being ran by and organized by a powerful,
00:31:34.360
a vocal, a well-funded, but a very, very small minority of people. Once you get out of that bubble,
00:31:39.240
once you talk to the average person, you realize it has a lot less power than you think it is.
00:31:44.760
I've kind of been working on de-centering my whiteness.
00:31:48.280
I think just what Milton said, I almost could start crying. Like, we just kind of love each other,
00:32:04.600
you know? And I think the divisiveness that's happening in our country is heartbreaking. And
00:32:12.520
when you see someone like Milton, you know, hit Matt's arm and be like, we all bleed the same.
00:32:30.440
They gon' say I'm racist, but they call everybody racist.
00:32:34.120
I guess that mean nobody is racist. Now it doesn't mean much when you say it.
00:32:39.160
When you say it. They gon' say you racist, but they call everybody racist.
00:32:44.200
I guess that mean nobody is racist. Now it doesn't mean much when you say it.
00:33:16.280
They gon' say I'm racist, but they call everybody racist.