DAMIEN KING LEE (3s): Hi, I’m Damien King Lee and this is the fucked up story of my life and the lives of my guests. In this series of podcasts I’ll be speaking to unique and inspiring individuals about their life, their personal stories, struggles and experiences. Hi, this is a Damien King Lee and welcome to my podcast, life is… and I am today joined here by The Voice.
THE VOICE (33s): How do you do?
DAMIEN KING LEE (34s): And today’s guest is the incredible Mr. Wesley Snipes, an incredible show. Hope you’re going to enjoy it. On today’s podcast, I have a guest to a guy who I really want to talk to about his career and life in general, and the adversity that he’s faced along the way and how he’s overcome, you know, his various challenges and how it’s defined him as a man and… A businessman and a family man, whatever that you know, that man is and we want to find out a little bit more about that. Look, you know, the world today…
DAMIEN KING LEE (1m 14s): Times are tough, right? For a lot of people, right now… Many people are facing their different challenges, but it’s important that these different messages of hope and determination and get out there to help uplift people. And, you know, look, I always say that the most well-known artists, whether they’re a musician, an actor, a rider, a disruptor, whoever they may be, and that have gone on to become household names haven’t necessarily being born famous [laughs] okay? These people in many cases that have come from simple, humble backgrounds that faced many hardships along their way, heartbreak, whatever you, you call it. It’s just not all cotton candy and pavement slime with gold.
DAMIEN KING LEE (1m 57s): So, today it’s some of these stories that I want to talk about and the determination it takes to build a successful career and family life, you know? I myself have my own day-to-day challenges. I am living with my current condition of terminal cancer. That’s what they call it. You know, I’m into my fifth diagnosis of cancer. I have just reached my 78th chemo and radiotherapy treatment and, and various surgeries… Very shortly I’m about to go into my next stage of treatment. So my journey continues… Doctor’s, when I was first diagnosed with my cancer, and that was the first cancer I’m now in my second primary cancer, which has metastasized and so on, but when I was first diagnosed with a late stage four cancer, almost six years ago, I was only told at the time I only had a few weeks left.
DAMIEN KING LEE (2m 51s): And, you know, at the time I was also a single full-time daddy of two young boys and, you know, I always say that news gets you pretty focused. You know, for me, it was a red rag to a bull and it got me determined. It got me determined to say, look, man, I’ve got a lot of living to do. You know, I want to see my kids grow up, you know, I want to give them away at their weddings. I want to see them graduate. You know, I want to be around for them. I’ve got to be their rock and so that was my, my light in a sense that has given me my determination and my fight to outwit the doctors and to keep pushing through and a, you know, said five more cancers later, I’m still here fighting and kicking.
DAMIEN KING LEE (3m 37s): This is part of my platform that I hope to use to help inspire others that are going through similar traumas, or maybe they are a family member that has someone in their family or a life that is going through a trauma… To say there is hope. It’s about positivity. I always say 80% of the battle us up here and as long as you’re determined, as long as you’re willing to fight and as long as you know what you’re fighting for, there’s always hope. And as long as I’m around, continue to use this platform to do what I’m doing with my various businesses around the world and to leave my legacy, not just for myself, but for my children, this is what I’m determined to do.
DAMIEN KING LEE (4m 20s): So, some of these stories that what we’re doing here today, and through this podcast show is to bring out some of these other great adversity stories and stories and challenges that have some of these people that I’m sure that you know about and have heard about and love. They weren’t always born famous, okay? They’ve battled hard to get where they’ve got to and look, without further ado, I want to talk to you today about my guest today who’s an actor, a producer, a businessman, an author, a disruptor, a family man and also, I guess I can say the favourite actor of the IRS.
WESLEY SNIPES (5m 12s): One of them
THE VOICE (5m 14s): He’s also an incredible tech guru and also a health disruptor.
DAMIEN KING LEE (5m 17s): Oh yeah, and a health disruptor and a tech guru. And I’m going to get into that too because I am absolutely fascinated with this story. I mean, maybe, may I… let me introduce, because you probably, for the, for the folks that are listening you probably like “who’s that?” That’s the voice, okay? You don’t see, you don’t hear from, you don’t know who he is, but that’s The Voice, that’s just my little canary on my shoulder that sometimes chirps in, and we love The Voice. So that’s The Voice, but you know, like we’ll get into it after, but, you know, I’m really fascinated by that the tech mogul sort of thing that you’re getting into right now, and maybe just give us a quick insight into that.
DAMIEN KING LEE (5m 57s): Oh, actually well firstly, let me introduce who it is [laughs]
WESLEY SNIPES (5m 60s): They don’t know who you’re talking to
DAMIEN KING LEE (6m 4s): Exactly they don’t know who we are talking to, and who I’m talking to right now is someone, you know, all my, sort of a young, adult life and all the way through to today, has been someone so inspirational to me and I followed his journey and it’s just great to be with him and it is Mr. Wesley Snipes
WESLEY SNIPES (6m 25s): Right on, right on. Indeed, indeed. Hey, Damien man, peace man.
DAMIEN KING LEE (6m 34s): Peace man
WESLEY SNIPES (6m 35s): You looking well, you looking well
DAMIEN KING LEE (6m 37s): Thank you
WESLEY SNIPES (6m 40s): I didn’t know that I had that effect on you, man, that the work had resonated with you that well, and it has been a nice long run, it’s forty plus years of [inaudible] artist and blessed with opportunity and you never know how many people it affects and how far reaching your work travels.
DAMIEN KING LEE (6m 60s): You hit me all the way back home in Sydney, Australia, where I grew up, you know, and that’s where I first met you and a sense, and, you know, I followed you around the world ever since, so amazing
WESLEY SNIPES (7m 10s): Right on, man, right on. Hey, have you ever been to the Bronx New York, man?
DAMIEN KING LEE (7m 14s): You know, could I say that I’ve been to deep dark Bronx…? I haven’t, but you know, New York is one of my favourite cities in all the world
WESLEY SNIPES (7m 21s): Deep dark as opposed to light and bright Bronx? [laughs] The Bronx back to… You know, where I from in the seventies? You know, if you remember a great film by Walter Hill, that was titled The Warriors.
DAMIEN KING LEE (7m 40s): The warriors…. oh, man!
WESLEY SNIPES (7m 44s): The warriors that fight… [inaudible] Right, with the gangs of the seventies and stuff, that was the world that I actually grew up in. Those were the neighbourhoods and some of the people that populated or were a part of my community at that time, and during that period, you also, you used to have a slogan that said the Bronx was burning because many of the abandoned buildings, sorry the tenements had been abandoned and they were allowing them to burn. In some cases, the landlords were paying drug addicts and arsonists to set fire to the buildings so that they could late on a claim, insurance claim or create co-ops and then we just charge a higher price, ultimately gentrifying in that particular neighbourhood.
WESLEY SNIPES (8m 36s): So if you saw the film, a title that Slumdog millionaire, right?
DAMIEN KING LEE (8m 41s): Sure.
WESLEY SNIPES (8m 43s): Some of the images of the kid’s playing in the rubble and dancing and playing and still laughing with all the trash and stuff like that. That is similar to the environment that I lived in, in the neighbourhood’s in the Bronx, in the seventies. We played in the rubble, we learned how to do back flips. We learned how to do unicycles, how to ride unicycles, how to play tag and jump through windows. And all of these kinds of things in that kind of environment, you know, so incredibly autistic, incredibly, incredibly rich with the community and family in spite of the poverty and the lack of lack of funds, you know, but it had a whole lot of style…
WESLEY SNIPES (9m 27s): [laughs]
DAMIEN KING LEE (9m 28s): A whole lot of stuff. Well, tell you what, because that Warriors, I first saw that back home in Sydney when I was younger and that movie really resonated with me. And, but I kind of, I guess when I take myself back to that movie and I think about that, I kind of thought, “Ah, that’s Hollywood, that can’t be America.” You know, for me in America, as a kid, growing up was the shiny beacon of democracy and hope and opportunity and so forth and when I watch that film
WESLEY SNIPES (9m 58s): I saw that ad too, I saw that commercial too [laughs]
DAMIEN KING LEE (9m 60s): You saw that commercial, right? [laughs]
WESLEY SNIPES (10m 2s): Yeah, that was a great commercial
DAMIEN KING LEE (10m 5s): [laughs] It sold me, it sold me at the time
WESLEY SNIPES (10m 9s): And it [inaudible] the top of the hip hop culture in that commercial, that same aspiration, it drove the desire to be so creative and find other ways to express yourself that coalesced into what we now call it, the hip hop culture, which is like exploded around the world. It’s integrated into the very day to day life of most of your young people, all around the world, music and art and fashion
DAMIEN KING LEE (10m 38s): And the lyrics, man.
WESLEY SNIPES (10m 39s): [inaudible] … who come out of the hip hop culture, but this is a feeling that it’s not a bad thing. So is the blossoming and… And the constant that all things change, things evolve. Sometimes you never know what’s around the corner and sometimes when you a little ant on the balloon, you can’t see what’s over there at the crest, the summit, and it might be something wonderful, spectacular that you have never expected that really expected, that changes to the world, you know?
DAMIEN KING LEE (11m 18s): Well look the world, and maybe we will talk about that a little bit later is a really unusual place right now. There’s so much going on, you know, with the global pandemic, with a partisan politics going on in various countries, including your own, you know, and, and again, that resonates really loudly with me, even though I’m not an American citizen, I grew up living and breathing Americana as a kid back here in Australia. And, you know, right now I’m finding it really difficult to watch what’s going on when I’ve watched the news channels and everything going on in America.
DAMIEN KING LEE (12m 2s): I found it really difficult because its sort of tears of my heartstrings. But again, you know, we can talk about that a bit more later, but yeah, there’s, there’s a lot going on in the world, man, a lot going on in the world.
WESLEY SNIPES (12m 14s): Yeah. You, you know, greater cats than us have been through worse, you know, for real Damien, if we really, you know, recall the history, they have some cat’s that went through some real shit, some heavy stuff.
DAMIEN KING LEE (12m 26s): Oh, yeah
WESLEY SNIPES (12m 28s): And for long periods of time, even you going back to the biblical days or all archival days or even the day, the scrolls in the… And, and the writing’s on the temple walls, they talk about cats that went through some hell…
DAMIEN KING LEE (12m 44s): History is cyclical you know, it really is.
WESLEY SNIPES (12m 49s): And that’s the, that’s the great lesson, you know, we here because we have the latest and greatest version of all of that. And the best [inaudible], because at the time, you know, what is at hand? So I know it is crazy out there, but we like warriors, man. We can pay them and that’s like the talent of God, but I’m here for this purpose, you know, it ain’t no mistake that we’re here.
DAMIEN KING LEE (13m 10s): Ain’t no mistake. And I, I honestly believe that if you go back in history and you read some of the people in these biblical stories and in history and whatever, we got the light challenge because man, they had it hard in the old days, we got the light version,
WESLEY SNIPES (13m 26s): and see how you feel, how that work out, you know what I’m saying
DAMIEN KING LEE (13m 32s): Absolutely, absolutely
WESLEY SNIPES (13m 41s): Yeah, but we, we’re, doing good? We can do a lot better and that’s, you know what you’re doing and thank you for the, you know, bringing the community together. You know, it’s resonating very much with what we are looking at in terms of one or what we call a multi-talented a hybrid scale masters, people who are extremely proficient and adept at more than one thing and can do it and to do it for a justice to do it for a ride for the betterment of men and womenkind, you, you’re doing that, man and it’s not just talking at you, you walking it and that be a great example not only for cats like myself, but all of the younger ones that are coming along and as an inspiration to the one’s that are coming along, that they can do it too.
WESLEY SNIPES (14m 34s): It’s cool to be on the right side of history, you know, it’s cool to do some good stuff. Good, good work. You know, to fight the good fight, it’s cool. Yeah. It’s a little rough, you know?
THE VOICE (14m 47s): You just made it sound cool
DAMIEN KING LEE (14m 49s): He, he makes this sound cool, right?
THE VOICE (14m 50s): It is cool, man. That’s what Daywalkers, we’re cool. [Inaudible]
DAMIEN KING LEE (14m 56s): If you make it sound cool, it’s all right. I mean, I’d love to know more about Daywalkers in a minute, but let’s say, you know, I just sorta want to roll it back a bit again. And you started talking about your, your days back in the Bronx, in the seventies and so on. And I, again, I just thought it was Hollywood with The Warriors, but man, from what you’re saying, that was, that was the Bronx it really was that the world.
WESLEY SNIPES (15m 26s): One aspect of it, one dimension of it, but you know, you have family, I mean, you have soul food going on in the Bronx at the same time, right? And you have the gospel, you had the church, literally, man, I used to, when I went to high school, to the high school of performing arts at what was that? At 13-14 years old, something like that. I would have to take the bus for all the way to the train, the subway, the L train down to Broadway, 45th street, 46th street where the school was at the Fame School, some of the younger generation as well…
DAMIEN KING LEE (16m 4s): Fame? Yeah, yeah. Fame man. That was my second after The Warriors it was Fame for me. Yeah.
WESLEY SNIPES (16m 10s): I was inducted into the school there, and from the Bronx, the only cat in my neighbourhood who was going to an art school like that. Some of the other ones, they went to the music and art, which was actually in the Bronx, but the performing arts school was down in Broadway, on 46th street in Broadway. And, hey man, you know, I would have to take the train and the bus, being a youngster, young shorty like that by myself every day and I had never had no problems like that. You know, occasionally a cat or a group of cats might come and try to take your bus pass.
WESLEY SNIPES (16m 52s): But for the most part, you didn’t have cats snatching you up. You didn’t have none, none of the gun in play that wasn’t even in the mix. So children that had the, the freedom, strangely enough in that kind of environment, at that time, to roam the streets, travel and traverse from city to city and you know, without being harmed and not being, you know, molested and, and without the fear and to remind you, we didn’t have a phone, everything was landline. So when you left the house, parents didn’t know if you were coming home.
DAMIEN KING LEE (17m 28s): Yes, answering machine, right? We were talking about this the other day
WESLEY SNIPES (17m 35s): We played a the game called round up and around it was like a tag amongst teams in the neighbourhoods, sometimes we would, be a block or it would be a group against group. And we were set a boundary. And the boundary can literally be three, a three boroughs. Like you can go to long Island, you can go to Queens, but we’re in the Bronx. Literally we, we start to chase and cats would be on the train, on the Rockaway at the same way and then you would come home man at almost 11 o’clock at night because you have to take the train all the way back from Brooklyn.
WESLEY SNIPES (18m 15s): Your parent had no idea…
DAMIEN KING LEE (18m 16s): Yeah, and what were you 11 years old or something? Yeah, yeah
WESLEY SNIPES (18m 19s): Yeah and it was okay! It was okay now… forget about it, forget about it.
DAMIEN KING LEE (18m 33s): I don’t even let my kids down to the corner shop and they are 11 and 13.
WESLEY SNIPES (18m 38s): We gotta change that man
DAMIEN KING LEE (18m 40s): It’s crazy, isn’t it? Wesley, as you said, I remember in Australia, my parents would let me out and same thing, I wouldn’t come home till 10 or 11 o’clock at night and there was no mobile phones. I would have to leave a message at home on the answering machine, right? Hi mum, I am at my friend’s, but I’d be out gallivanting about doing crazy shit, they didn’t know about it, but you know, they were okay if I came back at 11 o’clock at night, it was safe.
WESLEY SNIPES (19m 7s): Yeah. It was safe and the people cared about each other, the elder’s and the young, or even the guys that was… you know, the gangsters and they would be like, “look shawty you go to school, you go to class, you don’t get into this, you know, get your ass home, get off, get off the street, go home.” They would that. Now it’s a little, it’s a little different. Some of them don’t have that moral compass.
DAMIEN KING LEE (19m 32s): Yeah, there was a code once.
WESLEY SNIPES (19m 34s): A lot of people who don’t have that moral compass, we’re finding out
THE VOICE (19m 38s): The crazy capitalist system has taken over the whole world [laughs]
DAMIEN KING LEE (19m 43s): It’s a big battle. So yeah. So, okay. So what is, so, I mean, you got into martial arts from, you know, an early age, from what I understand, I mean, was that a product of your environment or that’s just something you want to do to get into?
THE VOICE (19m 58s): Or was it Bruce Lee?
DAMIEN KING LEE (20m 1s): Yeah, yeah. Oh, definitely Bruce had something to do with it and Kung Fu movies on a Saturday afternoon had something to do with it. The neighbourhood had a lot to do with it. My… I was real short when I was a kid, you know, and I think people thought that I was going to be a midget. You know, I had my little challenges [laughs] and as a means of not only learning to defend myself, but get me in some other things. Plus I was real artistic. I loved dancing. I loved performing, I loved music, all of that kind of stuff. My mom got me into martial at 12 years old. It was your mum? Wow, okay.
WESLEY SNIPES (20m 40s): Yeah, my mom, my mom got me and we, we we’d have martial arts class and then in the same facility, the Harlem YMCA, African dance class. So I would also take the African dance class after, or either before the, the [inaudible] the karate class and that started the journey in the whole physicality, you know, for break dance and to be born into all of that, all of that kind of wonderful body movement stuff. And I just kept with it. When I got into college, I got there and that’s when I was exposed to capoeira and I became a capoeirista for about…
DAMIEN KING LEE (21m 26s): That’s the Brazilian martial arts, right?
WESLEY SNIPES (21m 28s): Yes, it’s Brazilian and African rooted martial art. And while I was training capoeira I was also training Shotokan in the Jiu Jitsu which is more of the stand-up jujitsu style because you remember like, where we come from in the Harlem and in the Bronx clothes meant a lot. So you seem to say, how you looked and protecting and preserving your clothes was very important. To take a cat out the last thing you wanted to do was to roll on the ground in your crocodiles, you know what I’m saying?
WESLEY SNIPES (22m 13s): Your damn sure don’t want to take the silk, the shark skin suit and, and roll on the ground. It was inappropriate. We would train in the [inaudible] to lock, joint, mesmerize, disable and put them on the ground while you still look good and can walk away. You know what I’m saying? That was the high jiujitsu approach grand master Moses powering all of us and Luke, his family there in, in Harlem, in Brooklyn, mazing martial arts system, you know street applicable, right? It wasn’t about sports it was like street stuff and the combination of all of that also helped when I was doing as a dancer and as an actor.
WESLEY SNIPES (23m 3s): So I just fused it all together. And fortunately, when I graduated from college and started working and got an offer at a… A sports movie, which was… The title ‘Streets of gold’ with Klaus Maria Brandauer, as the lead actor… I was already into the martial arts already into boxing and [inaudible] and that opened the doors for me doing athletic characters in film and stage. So the martial arts and the fine arts have always harmonized with me and been as relevant and resident, I didn’t come in to the acting world as a martial artist, I actually came in as a dramatic actor who just happened to have the skills of a trained martial artist and a dancer and a gymnast.
DAMIEN KING LEE (24m 3s): Yeah. Cause that’s what I was curious about, you know, how did that…. You know, you obviously studied the martial arts from 12 and earlier age and you went to a performing arts school too. So it was kind of in synchronicity in a sense, but you know, were you as a child sort of thinking maybe my direction is I’m going to go for a professional martial artist and continue that thread or, or was the acting and theatre and, and that bird always what defines you and… that’s who I want to be… Where did the acting come from?
WESLEY SNIPES (24m 36s): Oh yeah it was always the performing, yeah. The martial arts was never, I never thought of martial arts as a career or a, as a means of, you know, really expressing myself. It was more a conditioning, but the performing arts was where my heart, energy and soul was at, rooted. And the martial art just augmented what I was really rooted to in the performing arts. And I grew up in the [inaudible] have a little and my family, my aunts, my cousins, we were all like street dancers and performers, you know we would perform at church.
WESLEY SNIPES (25m 22s): And if there was a play, you know, somebody wanted to play the sheep, somebody wanted to play Mary, somebody wanted to play the baby. You know, we’d be doing this all the time and one day, one of my teachers suggested to my mom that there was a place, a school where he could actually be trained, since he had the talent, trained to be a great performer, the stage performer mostly. And that was a high school of performing arts. One thing led to another, we scrounged up the money for all of the applications when auditioned lo and behold, I got accepted and that started that journey
DAMIEN KING LEE (26m 5s): And that is Fame? That is what I’ve seen… The movie back in the eighties and whatever, is that Fame?
WESLEY SNIPES (26m 13s): Yeah, that was the real school. Matter of fact, most of the actors’ in that movie were my classmates,
DAMIEN KING LEE (26m 21s): No way! Serious?
WESLEY SNIPES (26m 24s): Yeah, schoolmates and classmates, and you know, the cool part about it is that some of those guys are now running some of the biggest studios in the world. Matter of fact, some of the guys that run Marvel are my ex alumni, class schoolmates from the high school of the performing arts.
DAMIEN KING LEE (26m 42s): Wow, man
WESLEY SNIPES (26m 43s): That school was amazing, man, that program was amazing
DAMIEN KING LEE (26m 47s): Absolutely amazing. And the movie came first, right? And then it went into a bit of a series, right? From memory.
WESLEY SNIPES (26m 53s): Correct
DAMIEN KING LEE (26m 54s): I’ll never forget when I saw… When that movie came to Australia and, and I watched Fame and still am the one scene that resonates so well with me is when they’re sitting and they’re all sitting around and one of them starts tapping his drumsticks on the table. And then the next minute, the other one’s getting up and you know, dancing…
WESLEY SNIPES (27m 13s): Oh, yeah, doing lunch, right?
DAMIEN KING LEE (27m 17s): Yeah, doing lunch!
WESLEY SNIPES (27m 20s): That happened four times a day.
DAMIEN KING LEE (27m 23s): Noooo, really?
WESLEY SNIPES (27m 24s): Real, four times a day. It happened before classes started. So literally we would arrive to the school early and we had DJs and the DJs would play music in the school lunch room before all of the tables were moved out of the way in the morning before the bell…
DAMIEN KING LEE (27m 41s): It’s great.
WESLEY SNIPES (27m 42s): Then at the two lunches, the two lectures, because different… the dancer’s had a different lunch then all the juniors and seniors had a different lunch period than I think the freshmen and the sophomore, and then, then once class was over and the day was done, Oh man, right back downstairs. But this was a every day, every day. And, you know, and we had, it was such a rich environment that was so exciting because you have people who were great dancers and they were learning moves and they were bringing steps that they were learning in the class or at tap dancing or acrobatics all into the, into the, the pot, you know, every day.
WESLEY SNIPES (28m 33s): It was very competitive, so much fun. Wow, that thought… I’m drooling. 0 (28m 46s): I’m so happy to hear that it was just a normal day in the office in a sense, because I wasn’t sure, I thought is that just… but it was real.
WESLEY SNIPES (28m 56s): Nah, it was real, man.
THE VOICE (29m 0s): They have a performing art school in London, exactly the same thing happens except one person dances and everyone else…
WESLEY SNIPES (29m 9s): Sitting on the table. Lovely.
DAMIEN KING LEE (29m 14s): Lovely jubbly
THE VOICE (29m 16s): Every one is a small Simon Cowell.
DAMIEN KING LEE (29m 24s): Oh man. But that that’s wonderful. What a wonderful story, because that is just, as said, it resonates so loudly with me, that whole Fame Academy and fame and just the… Cooking part of talent and exuberance and to hear that some of your alumni now going on to run the biggest studios… that’s amazing 0 (29m 42s): Yeah, great actors, great performers on the stage and Broadway… So it really did do it’s job, didn’t it? It really did do it’s job your school by the sounds of it, right?
WESLEY SNIPES (29m 53s): It did its job it set a scene that, you know, that was indelible in my mind and soul. And then I ended up actually moving to the South. My mom moved us to the South. So I didn’t graduate from the school that year and I ended up going to another school down in Orlando, Florida to Jones High School. And there, it was a very interesting, because they didn’t have to have a theatre arts program, but they had people who were theatre lovers and teachers who were theatre lovers. So one of my best friends introduce me to and, and she actually, my friend said to me, he said, “Hey man, Hey man, do you, do you like acting?”
WESLEY SNIPES (30m 45s): I was like, “acting?” “Yeah, you know, you, and … You know, like acting and you know, you know, act in plays and stuff.” “Oh, Oh you mean ACTING? I do like acting” So he says, “Hey man, come on you should be in the play, man. We’re doing a play at the end of the school, you know, how can we introduce you? And you know, I think you could be in the play with us, man, if you ain’t scared, you know, you might be scared.” And he had no idea that for the last, I don’t know, 10 years in my life, I had been doing nothing but performing in plays, poetry. You know, in the park and all of this stuff right?
WESLEY SNIPES (31m 26s): So he brings me to the teacher and she, she gives me a script and she says “here, you know, okay, look this over this is called a script, and look it over and then you go outside and, and, you know, see if you can memorize it and then when you come back, don’t be nervous now and we will, we just, you know, play it and I’ll read the other part and you read this part and my friend was like “Yeah, man come on, yeah go ahead man, don’t be scared. Have you even got to a memory? Go ahead, man.” All right. So I went outside, it took me all of like 30 seconds to remember, to flash memorize the whole page, you know, like a quick photo memory, bam, got it.
WESLEY SNIPES (32m 9s): So I walked back in and she said and I was “no, I’m ready. I’m ready.” She says, “you have read? We’ll you have to memorize this” and “yeah, I’m good” “Oh, okay. Just wait here. Just hold the piece of paper while we do it.” And I said, I’m good. I don’t the paper.” And we started the scene and I had all the lines memorized to play the whole scene with her without looking at the piece of paper, straight from memory. When we did all of this is about, and it’s three minutes, bang, bang, bang, bang. She puts the paper down and she goes, “wait a minute…”
DAMIEN KING LEE (32m 46s): You done this before
WESLEY SNIPES (32m 47s): Yeah, you done this before. And then my friend looked at me. He’s like, damn,, that was good. man. Wes that was good. I was like see, I got something to tell y’all and I revealed to them my whole background. And that started in a credible journey of us actually building and innovating the school theatre program, the council of arts and sciences program and even the early days of what was the architecture for what is now Dr. Phillips high school in the region, which has a partnership with Universal and Disney and they used as a pipeline.
WESLEY SNIPES (33m 30s): Then the talent that they rolled out into both the shows and into the theme parks, all [inaudible] which are homeboy to daywalker that you’re talking to right now. And those wonderful teachers Miss [inaudible] Miss Susan Porro and my brother’s Edward Crosby back in 1978, 1979 and 1980. Where I actually laid out the architecture for the school program, the academic program for the art school, based on my experiences at the High School of Performing Arts and that opened up a whole…
WESLEY SNIPES (34m 11s): You know, now mean, you know, it’s an entertainment Mecca down in LA, but when I was there, it was not the orange Grove. It was tobacco, orange Grove in the county fairs, you know what I’m saying?
DAMIEN KING LEE (34m 26s): So you brought up that sort of, that experience and learning that you had back in New York, you brought that to Orlando in the school in a sense and they instilled that?
WESLEY SNIPES (34m 36s): Out of the discipline and the mental survival.
DAMIEN KING LEE (34m 39s): Yeah. Wow.
WESLEY SNIPES (34m 40s): Yeah, because I missed New York so bad, so much, you know, and I was angry that I was even brought to Florida and that, of course, I’m going to the school that my mom went to? Oh my God! What did I do to deserve this?
DAMIEN KING LEE (34m 58s): So then you get the hell out of Orlando and got back to New York right?
WESLEY SNIPES (35m 4s): I got the first greyhound smoking baby. And fortunately, because those same teachers introduced me to going to colleges that had professional training arts programs and the requirements it took to get accepted lo and behold, for Julliard, NYU, you know, North Carolina applications, some of them, my academics, they couldn’t get me in certain places like Yale and all of that but the state university of New York, it purchased, they also accepted me. And since it was close to the Bronx for me, in a state university on top of that, in the United States, this is a state subsidized university within a series, a series of colleges and universities under that a moniker, I could afford it.
WESLEY SNIPES (36m 2s): They were giving me a scholarship and it was a complimentary program to… and all of the other one’s NYU… Some of the actors from the purchase was smoking the ones from Juilliard in terms of work and performance and skill ability. So I was like, Oh man, you know, if I can get the money and get the resources to get to the school and to have the audition, I know I’ll get in just let me get there and that was a challenge, right? To come up with that, you know, $500, $350, or $500 it took for the application and the bus ticket and the round trip to get to from Orlando, Florida, where I was living at the time to the White Plains, New York.
WESLEY SNIPES (36m 48s): Yo man, we had to, I had hustle too man, you know, we had to get out, I had to wash windows, I had to sell icies. You know what I’m saying? I had to wash cars.
DAMIEN KING LEE (36m 58s): Did whatever it took.
WESLEY SNIPES (37m 1s): My grandmother, she had to work for some people in their house, you know, and do some, you know, do some nanny services for people who are… services for people, you know, to get that money up. And we got the money up. Yeah, man. You know, I made it to… Wow…
DAMIEN KING LEE (37m 21s): Wow, man, hey…
WESLEY SNIPES (37m 28s): That was weird.
DAMIEN KING LEE (37m 35s): Listen, Hey Wesley, everyone dug deep man. Everyone dug deep man. I’m feeling you. I’m feeling you.
WESLEY SNIPES (37m 49s): Yeah, man. And we made it, you know, you know, I made it to the school, made it to the school. One of the only one of only four African-Americans in the school they had a quota, right. So they only allowed us so many minorities in this class of 30, a usually the quota, it was like four or two, something like that. And I was one of the one’s that was accepted. I made it through the whole program and the full four years, you know, made that journey, bro.
DAMIEN KING LEE (38m 23s): Thank God man.
WESLEY SNIPES (38m 25s): It was deep. It’s crazy huh? 2 (38m 30s): Well man, man, nah, hey it’s all right. You know,
WESLEY SNIPES (38m 34s): I can see that out as well. 0 (38m 49s):
WESLEY SNIPES (38m 59s): These days, the time it has been a lot of people who are suffering and you know, meditate on the value of your mom’s and your grandmoms and your father’s and your mother’s, your great grandmother’s.
DAMIEN KING LEE (39m 9s): The guilt man.
WESLEY SNIPES (39m 11s): Fronting on, you know, respect and love. How dare we be in a society with all of this wealth, and not know how to take care of our children and our, and our parents and our elders. It’s disgusting.
THE VOICE (39m 25s): And how, how, little we give them credit as we were growing up? Yeah.
WESLEY SNIPES (39m 29s): And the sacrifices they made, man, they don’t know. Me and my mother, my mom, my parents, they did stuff, man. You know, for us, I didn’t find out until I was 40 years old. It was like oh ok.
DAMIEN KING LEE (39m 48s): Wesley you know, I totally connected with you just then because I did exactly that four hours ago, thinking about my mum. My mum’s back home in Australia and she’s, you know, my dad passed away with cancer as well. Quite a few years ago. My mum grew up in a pretty sheltered life. Dad did everything for her and I’m an only child. And you know, mum’s back home in Australia right now in Melbourne where she lives they’re in lockdown, incredibly they’re doing another lockdown. So she’s all alone in her apartment. I can’t get to Australia because Australia is only allowing four thousand people into the entire country a week right now, a week.
DAMIEN KING LEE (40m 31s): That’s nothing. So you can’t even get on a flight. And then once you get there, you can’t get back out for now. No Australian citizen’s allowed to leave the country on top of it. And I’m thinking of my mum who, who sacrificed for me as, as a kid to, to define who I am as a human being today. And she’s all alone in her apartment. And, and I feel guilty sometimes. And I think God, and I just, I wept like you this morning by myself.
WESLEY SNIPES (40m 59s): Hmm.
DAMIEN KING LEE (41m 1s): About really those moments of thinking, I’ve got to stop and look at where I am and what I’ve achieved to date as human being. And, but it’s, it’s our moms and dads that help define us in most cases.
WESLEY SNIPES (41m 14s): No question.
DAMIEN KING LEE (41m 15s): Yeah. Yeah. And I feel guilty sometimes about that, but anyway, that’s another story.
WESLEY SNIPES (41m 23s): I mean, you know, I don’t carry that guilt, you know, like I can say, you know, we a later grade in all of them improvements and you know. It depends on your information and exposure and you know, to know what’s best, what better choices to take or make.
DAMIEN KING LEE (41m 48s): Steering you?
WESLEY SNIPES (41m 50s): If you don’t have that exposure, then you know, you’re like a weak leaf in the wind, you can get blown anywhere. You know, any which way.
DAMIEN KING LEE (41m 58s): Yeah. And it’s something I want to talk to you about later too, but it is as you’re a family, man, now you’re a dad. You’re in that position now. And so am I and so on. Well with that moral compass for our kids. Right. And you know, and we can only set them down that path and we hope that they’ll take the right choices. Right. But sometimes kids don’t want to listen to you because they think we’re out of touch or whatever it is. And you know, that’s, that’s a whole other journey, but listen, you know, you know, you know, when you started out as an actor and I’m just curious, and we’re going to move on from this in a minute, but I’m just, who, who sort of mentored you or what guided you, who did you look up to at that point?
DAMIEN KING LEE (42m 43s): Say that’s, that’s what I’m aiming for. That’s my mentor, you know, I’m going to get into this acting world. How did it start for you?
WESLEY SNIPES (42m 52s): As an actor? I mean, you know, you had the Sidney Poitier’s of the world as icons and you know, and the James Earl Jones’ of the world, as the Harry Belafonte’s of the world, they were the pinnacle. But, you know, I was an action guy and like body movement. So for me, I was more stimulated by the James Brown’s, the Michael Jackson’s, the Tom Jones the uh, the Gene Kelly’s of the world, the, the, the, the, the Charles Brown’s, you know, the Ben Vereen’s of the world.
WESLEY SNIPES (43m 39s): These were people that really stimulated me because they were a body movement people. And I liked body movements. I liked body movement more than I like dramatic acting, actually. I would’ve been a dancer, more that an actor. And it just so turned out that the school didn’t offer the program for dance, especially college. So I lost that dance exposure in Florida, but then I lost it again I suppose when I got to college, because the program in college was primarily a dramatic arts program to bring repertory theater and Shakespeare and all of, and all of the wonderful classics around the world.
WESLEY SNIPES (44m 21s): Yes. But nobody was dancing. Right. So that kinda took me in a different direction. From what I thought I really was going to do is be a showman, you know, that Sammy Davis Jr. type of a show, a song and dance on stage. Well, since it didn’t go that way, and I ended up in the movies, martial arts took the place of me being able to dance and get that, that, get that fix of the body movements that I wanted initially, from being a dancer, we wanted to be a dancer.
THE VOICE (44m 55s): So what are you saying? Are you looking for a big showtime musical that you want to do next or something?
WESLEY SNIPES (45m 2s): You know, I was almost in Dream Girls. I was almost in Dream Girls. Yeah. Yeah. And I was a finalist for that. Funny enough, Eddie Murphy ended up in that particular role. But when I walked in, most people didn’t know I can sing and dance, you know, they have a lot of people know that I can dance but not really sing, alright. So I, I have always had a thing for a musical musical theater. And really that was my forte prior to getting into the dramatic side of acting. And the movies came along as a result of my dramatic acting on Broadway, the result of my dancing.
DAMIEN KING LEE (45m 43s): You’ve done one show on Broadway right?
WESLEY SNIPES (45m 46s): I’ve done three, three.
DAMIEN KING LEE (45m 47s): Three shows on Broadway, three times. Wow.
WESLEY SNIPES (45m 50s): All dramas, all dramatic work.
THE VOICE (45m 53s): And is this when you were younger?
WESLEY SNIPES (45m 56s): After college yeah and, and this is my late twenties and thirties. Yeah.
THE VOICE (46m 3s): Do you miss it?
WESLEY SNIPES (46m 4s): I do, I do that. Something about the stage man that is just so special. So, you know, and even when I go see plays, now I just get charged up and I have to walk backstage. The fact as I got family, I can introduce the family to the cast and the costumes and all that. And I go to stand on the stage, in front of the lights and just look up into the mezzanine.
DAMIEN KING LEE (46m 30s): Yeah, yeah. Was that the whole live performance must be a totally different thing than being in front of the crew and cameras, because just, yeah. It, it wasn’t, was it a Michael Jackson video that was kind of your break and moment in a sense? That you did? Bad, yeah, and how did that workout?
WESLEY SNIPES (46m 51s): It kind of came that kind of came, yeah. That kind of came around in a strange way, came a little bit from the theatre. But I think I did a boxing movie.
THE VOICE (47m 6s): You did Wildcats before that though?
WESLEY SNIPES (47m 11s): Yeah, yeah, yeah, yeah, yeah, yeah. Anyway, I mean, he was acting audition and Scorsese was there, and Quincy Jones, the great grand master Quincy Jones, he was there. Michael wasn’t there at the time of the choreographers was there. And some of the other, the producers, I didn’t know that Scorsese or DeNiro and Peshy and, and, and, and, and all of that Cru the Italian boy Cru. Right. So, and James Woods, and I’ve watched the movies that I’ve studied and movies that they made those actors.
WESLEY SNIPES (47m 52s): So I knew he liked that style. But when I went into the audition, I try to give them a little bit of what I perceived Robert de Niro James was, was doing in the movies they did were Scorsese. Right. Maybe he would recognize, you know, how to say a little more on it’s kinda like, you know what Robin does this kinda like, you know, w w and sure enough, it worked. And they cast as they a finger, as far as the gang leader next to Michael. Right. And Michael had to sign off on this so that it was Quincy who signed off on it, and then signed off on it. And then legends.
WESLEY SNIPES (48m 31s): Yeah. But when my uncle didn’t know, it was that I was a trained actor. He thought I was actually a gang-banger. So in one of the scenes he says to me… It was like the scene… There’s a scene in Bad where we were in and he turns to me, and he says, he says, some of my, you do with the scene and then we say, cut. He stopped. So he looks at me and he says, “You know, you should really pursue acting. You’re a really good at this, you know, you really good. And I’m like, “Oh, thanks, Mike. That’s, that’s pretty cool.” “No really, really. Have you ever considered acting?
WESLEY SNIPES (49m 11s): For training, really professionally? And then it hit me. I was like, “Oh, snap, Michael, Michael Jackson, thinks I’m a gang banger.” I went, “Mike, Mike, you think I’m a gangbanger?” And he says, “well, well, yes. I mean, you know, I, you can leave that life” “Mike, wow” “Michael Jackson, I’m a professionally trained Shakespearian, actually. I have been doing it for well over eight years by measurement, I would be a master of acting naturally. I’ve put in my 10,000 hours, Mr Michael Jackson.” I didn’t actually say all of that but you get the picture.
WESLEY SNIPES (49m 59s): Ultimately he realized that I was a real, I was a, I was a trained And that was a great experience, man. And we went from working with the us, it was supposed to be like two weeks worth of work and then it ended up being a month and a half a month and a half.
DAMIEN KING LEE (50m 14s): A month and a half? Wow. And why, why? Just lots of different things in there.
WESLEY SNIPES (50m 19s): Yeah. But it is a Michael Jackson me because the short film, and it went from being a video to a short film and it was innovative, it was, you know, a way of, but what’s that word? A cut, a cut above the rest. No one was doing that.
DAMIEN KING LEE (50m 37s): It was a game-changer at the time. Wasn’t it?
WESLEY SNIPES (50m 39s): Yeah, yeah. Yeah. So, I mean, it’s like almost 45 minutes or 30 to 45 minutes long, which was really supposed to be a music video, you know?
DAMIEN KING LEE (50m 51s): Yeah, yeah. But you must have at times thinking of enough, right? Because I’ve watched that over and over again, who hasn’t right? And just thinking, Oh my God, man, the synchronicity, the timing, the perfection and so much of this video at that time, you just think this has been nothing like this before, but now you just saying, it went to like six weeks to shoot, you know?
WESLEY SNIPES (51m 17s): It was a cheque, it was a cheque baby. I was getting paid week to week baby.
DAMIEN KING LEE (51m 27s): Okay. So yeah. Keep it going, keep it going.
WESLEY SNIPES (51m 32s): Don’t you want one more take Mike? 2 (51m 38s): [Laughs]
WESLEY SNIPES (51m 39s): It ain’t my place to stay, but I’ll do it if you will 2 (51m 49s): Wow. Legendary. Serious dude I gotta ask you, you know, when for you, did you kind of realize you had gone from actor to stardom. When was that moment for you? When was the change? When, when did you realize, “Hey, I’m no longer just an actor, you know?”
WESLEY SNIPES (52m 11s): That was with Spike and after Mo’ Better Blues came out. That film there, that that was the one that really… that and, and, and yeah, New Jack city, those two. Yeah, because Mo’ Better Blues, I remember I’ll never forget walking down the street on Sixth Avenue next to where the, they play ball on West Fourth street at the ballpark there. The legendary ball-park, there on Avenue in America’s in New York City. And I heard these footsteps right behind me and it got faster and faster.
WESLEY SNIPES (52m 53s): So I’m thinking wow, this might be a problem. This might be a conflict. And as soon as it got closer, I spun martial arts Michael kicks in, right? And I’d squared up and it was a young lady and she was like, “Oh my God, no, no, no, no, no.” She said, “Oh my God, it is you, it’s you! Oh my God, that was incredible.” We started talking about Mo’ Better Blues performance right? And it dawned me, it was like, “Oh, snap, that’s what happens? That people see the movie and you can literally be walking down the street you’ve been around since you were five years old and people gonna start running up on you and girls at!!
DAMIEN KING LEE (53m 42s): [laughs] This is all right. Yeah.
WESLEY SNIPES (53m 47s): And then New Jack, that was a whole other thing that a whole New Jack and New Jack swing. And that was just…
DAMIEN KING LEE (53m 55s): Went to a whole different league.
WESLEY SNIPES (53m 56s): You walked through, we, we walked into a club one time [inaudible] of the film and some performances of all of the, the music artists that were associated with it, all of the Teddy Riley crew and all of that. And we walked into this big a club in Washington, DC and when we walked in, in the whole place, went crazy. Like we were stars. I was like, Whoa. Wow. And then all of the champagne started and then, Oh, and you know, when it hear something really crazy? Because prior to that, maybe yeah, about 10 years have that [inaudilble] period, I was living as a practicing Muslim, so I didn’t drink, I didn’t smoke, I didn’t fornicate, I ain’t do none of that for almost 10 years.
WESLEY SNIPES (54m 59s): And now I’m thrown in the world of Hollywood and wow… It was deep.
DAMIEN KING LEE (55m 9s): Which is all about drinking, partying and fornicating, right?
THE VOICE (55m 12s): Are you saying that your faith was tested?
WESLEY SNIPES (55m 17s): How was it… many times! Hallelujah
THE VOICE (55m 27s): It was just the one thing. I mean, the year after New Jack City, then, I mean, as far as I remember you were just a super… It was White men can’t jump that just was like, Holy crap. And I think I’ve watched that movie 20 times when I was younger.
WESLEY SNIPES (55m 43s): Wow. But, you know, I didn’t have a perspective. I didn’t have that perspective of it. I didn’t have the perspective of starting. I thought the hip hop artists were more famous than I was, you know? I didn’t know the volume of people that were actually watching the films and really how far film actually travelled and you know,
DAMIEN KING LEE (56m 4s): All the way to Australia, man.
WESLEY SNIPES (56m 7s): Wow. That’s amazing, right. So I’m in a hip hop culture and you know, the hip hop culture got superstars and you got, you know, the musicians’, the rappers and, and, and, and, you know, very few actors were superstars in the hip hop culture at that time. So, you know, I didn’t have a perspective on the value of that kind of access and the impact I was having as an artist in that, in, in film, film translated around the world, you know.
DAMIEN KING LEE (56m 39s): But, but today has that some can still, or you still kind of think, wow, or, now it resonates loudly?
WESLEY SNIPES (56m 46s): Oh I get it now. Oh, yeah. All right, buddy. I get it. Now. I understand very, very, very well, the power of having that platform and having access and the power of imagery and how images shape, they can construct or destruct false cultures, ideologies, sense of self. And it’s a very powerful tool that I’ve been given access to it, get used to it.
WESLEY SNIPES (57m 26s): A gift to understand it and do it. And so we’re going to use it for the betterment of humanity and [inaudible] I mean, you can see that across all of the work that I’m doing as the streaming, you know, technologies that we offer to the world, talking linear, as well as a VOD, a high speed, data fiber technologies, all offered in formats that are free on whether we are doing something with VR and AR where we are combining our physical wellness interest with mental health and exploring ways of taking the VR technologies and being narrative or stories or interactives that service as the needs of the mental health community or of languages.
WESLEY SNIPES (58m 22s): Of people, you know, we have technologies that allow us to real time translate voice to text and voice to speech, having the different languages, maybe a hundred different languages in texts, these things that allow for greater communication, greater collaboration and greater exposure. Arts to the cultures and the ways, you know, and options, I think. Yeah. So all of that is in the same trajectory, as you know, that we are looking at to create legacy and institutions that combine science and technology and the holistic arts, performing arts, liberal arts, metaphysical arts as well, healing arts.
THE VOICE (59m 16s): Yeah. We were looking, we were looking through some of that stuff last few days, I mean it’s, it’s really pretty amazing. And the thing I couldn’t get in my head round is that it was entirely free. I was like, there’s gotta be a catch here somewhere, surely and then, you know, where’s the catch? It’s kind of crazy…
WESLEY SNIPES (59m 34s): You talking about the Tikilive, Tikilive. Cable alternative. So basically it, if you imagined what save a rise and ideas of what your… let me see, maybe Sky or Orange, I’m trying to think of maybe Thomson in Australia or what maybe a cable carrier are the cable calorie equivalent, in that region or in the UK, and this, this is a similar platform, but without the need for cabling instead satellite and dock fiber and the web. So you can do all of the things on your cable network…
WESLEY SNIPES (1h 0m 17s): But now you have global accessibility. Underground through the water and through sky, through the air. Yeah.
DAMIEN KING LEE (1h 0m 27s): The thing that sort of blows me away from what I understand about it is, it’s free?
WESLEY SNIPES (1h 0m 33s): Yeah. And that’s one of the [inaudible] For sure. Because of their, you know, content that attracts sponsors, strategic, and that can be monetized, that can have offset some of the need for a subscription or a certain, you know, a licensed models. And then you also have the VOD. So certain content is made free in certain regions to certain… And then more premium content or other content might and… You might have to pay for, even live events you might have access to.
DAMIEN KING LEE (1h 1m 16s): So how does, how does it for the consumer?… For you and me and the everyday person? I mean, how, how do we benefit more than the Netflix in the Amazon Prime’s and, and so on it, it is the fact that you don’t necessarily have to pay the subscription service and we get great content, you know.
WESLEY SNIPES (1h 1m 31s): And you are not locked into a subscript, that’s correct. The lock down to the subscription service, but it also gives you access to broader a content that you wouldn’t normally get in your particular region and you can get it in a linear format, like a, like you’re a natural television guide, or you can get it in the style of format where you pay without the subscription. And then for those who are say broadcasters, there are revenue opportunities that you leverage the aggregate of all of the users on the network or within that particular sector and then you…
WESLEY SNIPES (1h 2m 12s): Like you would on YouTube, get a revenue share from either the CPMs or add.ad revenue that can be buttressed in front of or around your content, as well as giving you the opportunity to go direct to your consumer peer to peer, person to person on your terms and your conditions. Yeah. So you sort of said the benefit of the collective in the community, but you also get the benefit of having an interactive system to present your content, but also a pay system as well, to exact…
WESLEY SNIPES (1h 2m 52s): exchange between you and that particular customer. And then you keep that information for your further business growth expansion. 2 (1h 3m 2s): Wow. Damn, dude. I mean…
WESLEY SNIPES (1h 3m 5s): This is all DayWalker stuff, right?
DAMIEN KING LEE (1h 3m 7s): This is all DayWalker stuff?
WESLEY SNIPES (1h 3m 9s): I was an actor, they didn’t know I was a tech to tech, a tech, was it too? I don’t build knocks, I don’t build data centres, all this kind of stuff, man
DAMIEN KING LEE (1h 3m 23s): You are way beyond an actor, man. way beyond an actor. 2 (1h 3m 35s): Absolutely man. And that his, your journey, your journey, your going in and your, your, your… You know, with the, the different projects… Look, I always say, you’re going to break a few eggs to make an omelette as an entrepreneur, right? And you’re an entrepreneur, a disrupter and actor, you know, as I said, all the things that I said previously and, you know, any good entrepreneur has a few failures along the way, because you learn and you grow from your failures and mistakes and so forth to eventually, you start to take all of that learning and skill set in. You use those relationships, you use those skills that you’ve learned along the way to actually make something even better and, and disrupting and finding out what do people actually need? You know, what are your USPs, what are your unique selling points, and what your talking about with Tikilive and what you’re doing and so forth, man, this is what people need, you know, there’s, you know, Netflix model and the Amazon… 2 (1h 4m 27s): The Amazon model. Great. Okay. You know, they were kind of the pioneers of changing the way that we view content nowadays, but things are going to get disrupted. Things are gonna keep moving forward, the models going to change and, and wow. It sounds fascinating what you’re doing. I mean, who is your typical, who do you see as your demographic for this for this model in the future?
WESLEY SNIPES (1h 4m 50s): For this technology is this really any, anyone, is the foremost form of a challenge because it’s ubiquitous. You think of it as utilities, the needs of the home builder or the creative artist. We are enablers in that sense, but the, I would say, if there’s any overarching theme around what we have kind of focusing on in the creative side is dynamic action and body movement content. You know, action across the top of the list.
WESLEY SNIPES (1h 5m 33s): Yeah man, That Fred [inaudible] and Kelly Guy, you know.
THE VOICE (1h 5m 38s): Wesley, can I ask, can I ask you, would it be possible to send us some links, we’d love to include them, you know, on the page of this.
WESLEY SNIPES (1h 5m 47s): Yeah I’ll send you some links too, you know, the, the platform’s and also to some of the technology’s and yeah, we doing some wonderful things we doing stuff with blockchain technologies in a number of different sectors, not only products to pill imprinting to content media distribution, for the blockchain community, block of smart contracting IP, and then making that IP available through the various blockchain platforms or in blockchain platform, and then finding ways to tie, you know, tokenization into it, other, some wonderful things that we want…
THE VOICE (1h 6m 40s): What do you mean by tokenization?
WESLEY SNIPES (1h 6m 43s): The digital currency or the digital asset can be in somehow monetized, or it gives you some access. So you tying the product to your consumer through an experience and incentivized experience. And this token can be… It’s giving you access to a VIP chat room or conference room or VR live VR event, or it can be something that could be, it can be exchanged for Ethereum or Bitcoin or another digital asset.
WESLEY SNIPES (1h 7m 24s): And then that brought into your traditional currencies. For instance, we have projects that centre around the storylines of the film set around Casino Heist, Casino Caper that automatically opens up on natural interaction… Integration of tokens that are used in the film, but also have a place in the real world and can offer the viewers or the person who comes to the the film, or even the person who, who plays the video game, right?
WESLEY SNIPES (1h 8m 6s): A certain incentive for being down with the community or a customer… 5 (1h 8m 10s): So you, so you’re bringing some sort of community aspect into the platform and model is the idea where people can engage in a sense with the platform. Is that the idea?
WESLEY SNIPES (1h 8m 25s): Absolutely. Interaction, emersion and exposure are the focus. So the DayWalker Klique that’s the whole global community of these dated skill masters from science and technology like our friends at the NASA, Johnson Space Centre, our friends over at Musk Starlink to our friends, you know, who make some of the best movies in the world. I mean like the guys who are the actors and the stunt men in some of the Avenger movies, these are all down with the Klique, they vibe on the overarching goal and agenda to create better quality content that is constructive and entertaining, edutainment, and take the use of the technologies to communities that are often marginalized or overlooked so they can scale up and then in whole, yeah create a better options for a better quality of life.
DAMIEN KING LEE (1h 9m 37s): And who has control over that content?
WESLEY SNIPES (1h 9m 41s): Absolutely, absolutely. Even the content creators have [inaudible] and we have very much into privacy. So some aspects of the platforms offer complete anonymity and privacy and we, as the servers are, as the host, we don’t know anything about who that person is beyond their account number or some identifier, but all of their information is private and we don’t sell it. We don’t, you know, get into all of that.
THE VOICE (1h 10m 14s): And a consumer can just a login, you know, from whichever device…
WESLEY SNIPES (1h 10m 23s): Both KPIs, applications, and also a browser base access because we crossed, we really crossed the spectrum. So you know, you can have that type of one-off live pay per view event that’s controlled and you can control the play wall, etc. Or you can have an ongoing series where, you know, the series is free, but the content creators benefit from the advertising dollars that are built around or generated by that particular content. 5 (1h 10m 56s): But generally the consumer experience is, is free or it’s paid for?
WESLEY SNIPES (1h 11m 2s): So that was all free. Yeah. Okay.
THE VOICE (1h 11m 4s): See that’s the part where, you know, you kind of look actually, you know, when you think about e-sports the big game changer changer on e-sports was to build a great game with good support and actually just make it free of constantly asking for money again and again, you know, when we…
WESLEY SNIPES (1h 11m 22s): You know, but it’s regional, for some regions of the world it’s OK. You know, some regions of the world, they only deal with what’s in that space. They only deal with digital assets. So it’s very OK. You know, for them to pay a subscription fee or an access fee or a VIP pass or something to tear up. Like for instance, you know, you could be done with the DayWalker Klique but everybody is not [inaudible] you feel me? You gotta, you gotta earn the right to be a DayWalker and really down with the Klique. What do you do? What have you done? What are you planning to do… All determines if you get to join the Klique and become a DayWalker and you might just be a night stalker and that’s cool.
DAMIEN KING LEE (1h 12m 13s): Hey guys, sorry to cut you off halfway through this incredible chat with Mr. Wesley Snipes but please make sure you tune in next week to Part 2, where you can hear the rest of his incredible journey. I hope you love today’s show got some great more guests coming in each week. Please remember to subscribe right now.