BIG FLUFFY

Se cumplen 10 años desde que Jon Snow resucitó para absolutamente nada.

Tyler Perry discusses the budgets of his projects and how his audience helps him keep going “The budgets for my shows are really, really low, and the reason that they're so low is because being a Black show, being a Black writer, they do models for me. Even my movies, my budgets are really low. I see white boys walk in and they get four or five times as much as I, and make nowhere near. Being black, I had to go into these rooms and try to figure out, okay, how do I make this work for me? So I was like, okay, I own the studio. I own the lights. I own the sound. I own all this stuff. So here's what I'll do. I'll go in. I'll take that lower budget, and I'll make it work. And my audience is going to show up, and they're going to make it work, and they're going to make it a hit. And every few years, we're going to try to negotiate to get that number higher. But in that, I'm doing all the sacrificing. I'm making sure everybody else is paid and getting what they want. But my sacrifice comes on the end because it's part of my catalog. That's where my value is. I'm not making the money up front. It's in the long game. So if you go in and you're looking for the bag then great, you go buy your Bentley, your Rolls Royce, that's wonderful, you had it. But then what you've done is signed it all the way, they own you and they're never gonna give you an opportunity to be in that position again.”

Brandy recounts her clash with YE and Atlantic Records over her album ‘Afrodisiac’: “Without consulting me, they had offered Kanye two placements on my album, with the added condition that one of his records would be the lead single. They would also give him free rein to create the video treatment for that single. The album was otherwise complete, and I was still hot over having to compromise my creative vision by bringing in another producer at the eleventh hour. But I made the concession and played the team game. The records came out dope — no denying that. But our disagreement over which version of 'Where You Wanna Be' would make the final cut became a power struggle. And I didn't understand why Kanye was fighting me on it. I just wanted a different mix of the vocals. We went back and forth for days, and I refused to make another concession, especially not about how my voice was presented. He barely looked up from the soundboard. ‘Nah, I can't do that.’ His eyes met mine, unflinching, a challenge in their depths: ‘I can't because I turned it in already.’ [I asked what he meant by that]. He shrugged, turning back to his work as though this conversation was already over. ‘You'll be aight,’ he said with a smug grin that set my teeth on edge. That may sound like a minor disagreement to someone on the outside looking in. But to me, it represented a stripping away of my agency on a deeply personal project. But I couldn't afford to be upset or angry. I still had a video to shoot and a record to promote with Kanye. I'd also promised [Atlantic executive Gee Roberson] that I would return the favor and do a record on Kanye's sophomore album, ‘Late Registration’. So, I swallowed my pride along with the lump in my throat, forced a smile that didn't reach my eyes, and nodded like this was all part of the process.”

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