I learned from the streets, from the game. My boy has an independent rap label and I used that same formula.
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I chose a different craft, digital film, and I knew how to make something independent blow up. I saw these guys do their shit independently. I saw the rise of Too $hort, E-40, Herm Lewis, RBL Posse, Nickatina. When you come up out here you're independent. That whole principal and concept comes from the history of rap music in the Bay Area. As an underground head new to the film business, how will you continue to improve and create a force in the underground? You mentioned having good timing as far as emerging simultaneously with the digital revolution. The mainstream can mass market it to the point where people believe that's who invented it, but the underground knows. No matter how much marketing the mainstream can fuel something with, it all started in the streets. Trends start in the 'hoods and the barrios, boroughs. That's exactly how the mainstream jumps on. When the 'hood started talking, that's when I knew this shit was gonna blow up. Most importantly, though, the story was just so gritty. The timing with the emergence of certain technologies, being able to make a digital film-this is a new movement where we don't have to go through Hollywood. They ain't even gonna understand this." But it worked. What were your expectations when you released the film? I was looking at it like, "Damn, that makes me feel like I'm home." So we put it in the film festivals and the shit just blew up. So we edited and I sat in on all the editing sessions until I felt this feeling like I was about to vomit. With the film, I had no idea what would happen, I had a sick editor and I was like, damn, I want to tell this story about my 'hood. You have the respect from the neighborhood to teach because you have already been where many of these youngsters are now. I looked up to you when you was a gangster nigga." There's beef because of that. People come at me like "I don't want to hear none of that education shit. It's hard to talk to the youngsters about that because i switched up where I'm coming from. I didn't have a choice I just got caught up.
I was in the streets, but I don't glorify that no more 'cause i don't want the young homies to think that's the right way. I could show you all the shit that you would never see. It's through the eyes or a person who live there. They are comfortable with me with a camera. How do you think you were you able to showcase Hunter's Point in a way that an outsider could not?īecause I live there. I thought to myself, man, I wanna do a story about the hood, Hunter's Point, shot from the inside. I started learning how to make films, shooting shit here and there. Then I went to jail and read books and when I got out I got involved in the Film Arts Foundation. All the cats before me, all the cats that I looked up to were gone. I thought to myself, I gotta get outta this shit. Stuck in the streets, trying to survive, street hustlin'. Back in '94 I hooked up with the Film Arts Foundation. Better yet, venture over to Hunter's Point and gaze upon his seismic canvas. Thrasher is trying to enlighten you, the reader, but only you can help yourself. More important material is nearing completion.
SOHP was his premier project, but the struggle continues. The film is formidable and its magnitude overwhelms the strength of any written verse. Epps' documentation style is frighteningly raw, gripping the viewer into an emotional roller coaster of danger, drama, and devastation. In 2002 he delivered Straight Outta Hunter's Point, an underground masterpiece depicting life in his hood.
Meet Kevin Epps, an urban cinematographer from the southeast corner of San Franpsycho. Fortunately, Thrasher doesn't refer to the rulebook. TYPICALLY, THIS SECTION OF THE MAG is reserved for musicians whose tunes sound out from the stereos of skateboarders across the globe.
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