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♪[Hustler's Ambition by 50 Cent playing]
[crowd cheering]
♪ AMERICA'S GOT A THING FOR THIS GANGSTA *** ♪
♪ THEY LOVE ME ♪
♪ BLACK CHUCKS, BLACK SKULLIES LEATHER PELLE PELLE ♪
♪ I'M A VANDAL, GOT THIS SILVER DUCT TAPE ♪
♪ ON MY .38 HANDLE ♪
♪ THE WOMEN IN MY LIFE BRING CONFUSION 'N' *** ♪
♪ SO LIKE NINO FROM NEW JACK I'LL HOLLA "CANCEL THAT ***" ♪
I CHOSE♪
♪ *** AROUND ME SO COLD, MAN, MY HEART DONE FROZE UP ♪
♪ BUILD AN EMPIRE ON THE LOW, THE NARCS DON'T KNOW ♪
AN ♪
♪ I TAKE THAT COCA LEAF AND MAKE THAT SNOW ♪
♪ SIT BACK, WATCH IT TURN TO DOPE, WATCH IT GO OUT THE DOOR ♪
♪ "O" AFTER "O" YOU KNOW ♪
♪ THE PENITENTIARY IS DEFINITELY OUT OF THE QUESTION FOR ME ♪
♪ I WANT THE FINER THINGS IN MY LIFE ♪
♪ SO I HUSTLE, HUSTLE ♪
♪ ***, YOU GET IN MY WAY WHEN I'M TRYIN' TO GET MINE ♪
♪ AND I'LL BUCK YOU, BUCK YOU ♪
OU FROM ♪
♪ ***, *** YOU, *** YOU ♪
♪ I WANT THE FINER THINGS IN MY LIFE ♪
♪ SO I HUSTLE, HUSTLE ♪
[crowd whistling]
HOW MANY OF Y'ALL LIS
[crowd screaming]
Y'ALL KNOW, BONO?
WELL, BONO IS A FRIEND OF MINE.
HOW MANY OF Y'ALL WATCHED ONLY IN AMERICA?
OR MY LEFT FOOT?
SO Y'ALL KNOW JIM SHERIDAN?
ALL RIGHT. WELL, I GOT A NEW FILM COMING OUT WITH JIM SHERIDAN.
IT'S CALLED GET RICH OR DIE TRYIN'.
(Sheridan) I'VE ALWAYS LOVED RAP, YOU KNOW? I DON'T KNOW WHY.
U2 ARE FRIENDS OF MINE, AND BONO, IN PARTICULAR.
BONO, RIGHT HERE. U2.
(50 Cent) BONO IS A REALLY GOOD FRIEND OF JIM SHERIDAN.
AND HE SAID HE HAD THIS REALLY GREAT DIRECTOR FRIEND.
THE 50 AND I
AND I LOVED THE IDEA OF DOING A FILM
ABOUT THE RAP CULTURE, OR WHATEVER.
IT'S NOT HIS LIFE STORY.
THERE ARE PARTS OF IT THAT ARE-- THAT ARE EXPERIENCES THAT HE'S HAD.
THE CHARACTER WHO IS BAMA IS NOW IN PRISON, ISN'T HE?
YEAH.
GREEN HAVEN.
JIM WAS... IS SO BRILLIANT
THAT HE'S ABLE TO RESHAPE THE ENTIRE SCRIPT.
SO JIMMY IOVINE GETS THE STORY.
HE SAYS, "LET'S MAKE GOODFELLAS."
GIVES IT TO A WRITER WHO HE THINKS COULD WRITE GOODFELLAS
WHO WRITES THE SOPRANOS.
THE WRITER SAID, "LET'S WRITE THE SOPRANOS."
I TAKE IT, I SAY, "NO, LET'S DO AN IRISH FILM ABOUT A FAMILY
WITH A GANGSTER STORY BESIDE IT."
SO I'M DOING A STORY, WHICH IS LIKE AN IRISH STORY,
WHERE THERE'S AN EMERGING BLACK FAMILY OF TRUST, OF RESPECT.
WHERE HIS CHILD RESPECTS HIM,
WHERE HE RESPECTS THE WIFE, WHERE IT'S A LITTLE *** UNIT OF RESPECT.
AND THEY'RE NOT LOOKING FOR RESPECT OUTSIDE THAT UNIT.
THAT'S THE ORIGINAL SHERIFF STREET, JUST GOING UP THERE.
(Howard) HE WROTE THE PARTS WITHOUT KNOWING ANY OF US.
THE STORY IS LOOSELY BASED AROUND 50'S LIFE
OR PEOPLE THAT-- THAT MAY HAVE BEEN INVOLVED IN HIS LIFE
AND JIM HAS ADDED HIS TOUCH OF IRELAND AND MAGIC TO IT.
(Iovine) JIM IS LIKE THAT. TO BRING THE HEART TO IT...
A REAL SENSE
OF, YOU KNOW, ANCIENT LITERATURE
BEHIND HIS WORK, AND THAT'S JIM.
CAN I GET YOUR AUTOGRAPH?
IT COULD BE A STORY ABOUT FAMILY OR LACK OF IT,
OR THE PARTS THAT ARE MISSING IN IT.
SEE THIS CHIMNEY? MY FATHER TRIED TO PULL THAT BACK ONTO THE ROOF
AND IT FELL DOWN ON A LOAD OF KIDS.
I THINK HE'S THE BEST THERE IS RIGHT NOW
AT TELLING THAT TYPE OF STORY.
THEY WROTE STORIES THAT KIDS LOOK TO NOW, STORIES LIKE 50'S.
AND, SO, IT'S A GOOD STORY.
YOU KNOW, IT'S WHAT AMERICANS LIKE NOW.
STAND WITH ME, AND YOU TAKE IT.
WE'RE GOING FISHING.
NEXT WEEK.
PLEASE, PLEASE.
[crowd chattering]
OH, MY GOD, WE'LL HAVE TO SPEND LESS TIME IN THE JOINT.
(man) OH, SHE'S SHORT.
GOTTA GET TO THE SHOW, GUYS.
LET'S GO.
(Marcus) I DON'T KNOW WHY I WAS EXPECTING
MY FATHER TO RESCUE ME.
MARCUS!
I REALIZED I HAD BEEN LOOKING FOR HIM ALL MY LIFE.
IT WAS MORE REAL-LIFE WHEN WE STARTED,
BUT I KIND OF MADE IT MORE OF A SEARCH FOR A FATHER, YOU KNOW?
WHICH IS KIND OF LIKE JUST A--A SEARCH FOR HIS ACTUAL FATHER,
BUT ALSO LIKE A SEARCH
FOR A GOD, I SUPPOSE, YOU KNOW?
SO IT'S A SPIRITUAL AND A REAL SEARCH AT THE SAME TIME.
THAT'S WHERE ME AND THE CHARACTER
KIND OF GO IN DIFFERENT DIRECTIONS.
ACCORDING TO 50, HE WASN'T, AND HE NEVER CARED,
BUT I THINK IT'S THERE IN HIM.
BUT, YOU KNOW, IN THE ORIGINAL SCRIPT HE WASN'T,
BUT I DON'T THINK HE WAS IN REAL LIFE
AND TO THE EXTENT THAT I HAVE IT.
OR LOOKING FOR THE MURDERER OF HIS MOTHER.
LIKE, HIS MOTHER DIED IN TRAGIC CIRCUMSTANCES.
(50 Cent) WHAT ACTUALLY HAPPENED TO MY MOM,
SOMEBODY PUT SOMETHING IN HER DRINK AND TURNED THE GAS ON.
WE STARTED CALLING TO THE HOUSE LOOKING FOR HER.
AND THAT'S WHEN I STARTED LOOKING FOR HER.
WHEN WE WENT OVER, WE COULDN'T GET IN.
THERE'S SOMETHING TOLD ME ALL THE TIME IT WAS SOMETHING WRONG.
AND SO, WHEN I WENT... I WENT TO THE POLICE STATION,
SO THEY TOLD ME TO GO BACK OVER THERE, THAT THEY'LL BE OVER THERE.
AFTER MY MOM PASSED, I HAD TO GO STAY WITH MY GRANDPARENTS
AT A TIME WHERE SNEAKERS COST $10.
AND SHE DID AS MUCH AS SHE COULD DO FOR ME
TO KEEP ME IN A GREAT SPACE,
BUT, UM, STILL DIDN'T SEEM LIKE IT WAS WHERE I SHOULD BE AT.
FOR THE KIDS THAT HAD JUST THEIR MOTHER AND FATHERS IN THE HOUSE,
THEY HAD A LOT MORE. WHAT I DID WAS
I WENT TO THE PEOPLE THAT APPEARED TO HAVE IT WITH NO PROBLEM.
(Marcus) IT WAS TIME TO JOIN THE FAMILY BUSINESS.
WHAT YOU GOT?
20.
ALL RIGHT, HERE YOU GO. YO, MAN!
WHAT THE *** YOU DOING? IT'S MY CORNER!
ALL RIGHT, MAN. ALL RIGHT.
(Sheridan) THE EVOLUTION OF A KID WHO THINKS
HE HAS NO ALTERNATIVE, BUT TO GO
AND STAND ON THE CORNER AND BE AN ENTREPRENEUR.
YOU KNOW,
AND THAT THAT, IN A WAY, IS THE ONLY WAY OUT OF THE CULTURE.
YOU KNOW, IT'S ALMOST LIKE TAKING THE POISON,
WHICH IS THIS DRUG, WHICH IS ACTUALLY ***.
AND WHEN IT'S ***, IT'S LIKE A WHITE MAN'S DRUG
AND WHEN IT'S CRACK, IT'S A BLACK DRUG.
AND IT'S TAKING THE POISON OF THAT,
HOW THAT POISONED THE WHOLE GENERATION.
THIS *** WILL TAKE YOUR SOUL.
(50 Cent) WHEN YOU DON'T USE ANY DRUGS OR ANYTHING,
LIKE, I DON'T, YOU KNOW, IN REAL LI.
SO THAT WAS PERFECT FOR THEM TO ADD THAT TO THE FILM.
MONTH.
YEAH, HE A WORKER BEE.
MR. CAHILL, YOU LIKE A GOD TO ME.
(Cahill) I AM GOD, SON.
GOD, BUDDHA, ALLAH,
ALL *** ROLLED UP INTO ONE BIG ***.
WHY IS HE DOING THESE THINGS?
WHY IS HE DOING-- WHY IS HE DOING THINGS THAT LOOK INSANE?
WHY? WHY IS HE DOING THAT?
AND THE CHARACTER IN THE MOVIE DOES DO SOME THINGS
THAT MAKE YOU ASK THE QUESTION, "WHY?"
*** HUNGRY.
(Marcus) AFTER 3 HOURS,
I GAVE UP MY CAREER AS A RAPPER
AND WENT BACK TO SELLING COKE.
HE WENT TO PRISON.
HE GOES TO PRISON IN OUR MOVIE.
I THINK HE WENT TO PRISON FOR DRUGS, JUST LIKE IN THE MOVIE,
BUT IT WAS CRACK BY THAT STAGE.
(Howard) MAN, WHO GOT THE DOOR OPEN? RAM, BAM!
THE DRAFT!
(Howard) AND THIS IS HOW MUCH I TRUSTED THIS MAN.
I'VE NEVER EVEN TAKEN MY SHIRT OFF IN A MOVIE.
BUT WE'RE TRYING TO DO THIS SCENE WHERE WE'RE IN THE-- IN THE SHOWER.
FOR THE SHOWER SCENE, WE'RE ACTUALLY IN A PRISON
AND HE GETS INVOLVED IN A--IN A FIGHT.
JUST, 50'S PUTTING...
IT CAN'T BE THAT EASY. DO YOU KNOW WHAT I MEAN?
IS WHAT I'M SAYING... IT CAN'T BE...
THAT'S ALL LIKE A STUNT NOW, ALREADY.
(50 Cent) THAT'S FICTIONAL, THAT PORTION OF THE FILM.
YOU KNOW, 'CAUSE PEOPLE TEND TO MIND THEIR BUSINESS.
AND I'M NOT GONNA HURT ANY OF YOU.
[all laughing]
GO. GO, GO.
AND BE RIGHT UP HERE.
GET HIM ONCE. HOLD. GET HIM ONCE, REALLY HARD.
WHOA, ***!
YEAH.
WHOA, ***!
[all laughing]
THAT WAS GREAT.
I'M GOING TO PUT YOU ON TAPE IN YOUR ***.
[exclaiming]
WAIT TILL THEY SEE MY TAPE.
[hooting]
SHE GOING INTO THE SHOWER.
I DIDN'T INTEND ON BEING NUDE IN THE FILM.
NOW, I'M NAKED IN IT.
JIM SHERIDAN PRETTY MUCH COULD TALK ME INTO ANYTHING.
♪ NOW FROM THE RIP, *** KNOW I'M 'BOUT MY GRIP ♪
♪ I DON'T TRICK, MAN, I BARELY EVEN FEED A *** ♪
♪ SHE SAY I'M STINGY, I SAY, "I DON'T NEED YOU, ***" ♪
♪ GO 'HEAD LEAVE, SEE IF I CHASE YOU, ***! ♪
♪ TELL YO' MAMMY, I CATCH HER IN THE STREETS I'MA GET HER ♪
♪ SHE KNOW I'M ON PAROLE, WHY SHE CALL POLICE ON A ***? ♪
♪ SHE JUST MAD, 'CAUSE A *** POCKETS ALL SWOLE ♪
♪ WHEN SHE ASK TO BORROW SOME, I SAY, "HELL, NO!" ♪
I ACTUALLY STARTED WRITING MUSIC FULL TIME IN '97
AND MY SON IS MY MOTIVATION.
YOU KNOW, I HUSTLED. I DID EVERYTHING I DID IN THE STREET, AND THEN,
UP UNTIL THE POINT THAT HE CAME INTO THE PICTURE, AND I, UM,
KIND OF WANTED...
I HAD TO FIGURE OUT A WAY TO PROVIDE FOR HIM.
'CAUSE I KNEW IF I WASN'T PHYSICALLY AVAILABLE TO TAKE CARE OF HIM
NOBODY ELSE WOULD.
KNOWING HIS FATHER
AND TO HAVE A CHANCE TO BE A FATHER, YOU KNOW,
HE TAKES THAT VERY IMPORTANT.
I'M A BASKETBALL PLAYER, NOT A RAPPER.
[birds chirping]
(50 Cent) BUT THE WAY I GIVE MY DEMO TAPE
IN THE FILM,
FITS THE WAY I ACTUAY GOT MY SHOT AT RAP.
LIKE, I GIVE HIM MY DEMO AND HE NOTICES THAT I HAVE A 500 S BENZ
AND HE ASKS ME, YOU KNOW, "IS THAT YOUR CAR?" I SAY, "YEAH."
YOU KNOW, AND TH, AS HE'S LEAVING,
HE'S GOING, "WHERE THE *** YOU GET THAT CAR?"
YOU KNOW, "WHERE DID HE GET THAT FROM?"
HOLD ON, HOLD ON.
I JUST WANNA GIVE YOU MY TAPE.
IT'S MY DEMO, MAN. IT'S GOOD, MAN. CHECK IT OUT.
YEAH.
HOLD ON A SECOND. S500?
YEAH.
CHECK IT OUT, MAN. YOU GONNA LIKE IT.
ALL RIGHT.
WHERE HE GET THAT *** RIDE?
WHERE DO YOU THINK?
50 MET, UH, JAM MASTER JAY FROM RUN D.M.C.
AND, YOU KNOW, HE WAS WRITING AND TRYING TO GET IT TOGETHER,
BUT HE DIDN'T REALLY KNOW WHAT HOOKS WERE
AND HOW TO CONSTRUCT A SONG, AND THEY TAUGHT HIM A BIT.
AND THEN, YOU KNOW, HE WAS ABOUT TO BREAK
WHEN HE GOT SHOT AND THE RECORD LABEL DROPPED HIM.
SHOT,
BUT HE PLUGGED ON AND I THINK THAT'S WHAT TRANSFORMED HIM.
IT'S NOT REALLY JUST BEING SHOT THAT TRANSFORMED HIM,
IT'S THE WHOLE ACT OF COMING BACK FROM THE DEAD
AND LIVING EVERY DAY AS IF IT'S YOUR LAST DAY, YOU KNOW?
EMINEM AND THEM HEARD HIS MUSIC AND REALLY LIKED IT
UH, AND IT GAVE THEM STREET CREDIBILITY,
YOU KNOW, TO BE INVOLVED WITH 50, SO...
BUT ONCE EMINEM AND DR. DRE KIND OF PUT THEIR NAMES BEHIND HIM,
HE JUST TOOK OFF AND BECAME A HUGE...
HIS FIRST ALBUM DID LIKE 11 OR 12 MILLION.
SO THAT'S, LIKE, UNHEARD OF.
♪ OH, THE TOP FEELS SO MUCH BETTER THAN THE BOTTOM ♪
EM IS ACTUALLY THE REASON WHY I MET JIMMY IOVINE AND DR. DRE.
(Iovine) YOU KNOW, I FELT THE SAME WAY ABOUT TUPAC WHEN I MET HIM.
YOU KNOW, THERE'S CERTAIN PEOPLE YOU MEET
AND YOU FEEL THAT THEY CAN PULL IT OFF.
I DON'T KNOW WHAT THAT IS,
WHY I WANT TO SIGN THEM, I DON'T KNOW, JUST A STOMACH THING.
YOU KNOW, YOU SAY, "OK, THIS GUY CAN PULL IT OFF."
I KNOW HIM. I MADE A DEAL WITH HIM 14 YEARS AGO
AND ALL THIS INCREDIBLE STUFF'S HAPPENED TO US IN HIP-HOP MUSIC.
EMINEM, 50 CENT, TUPAC.
THEY ALL HAVE, UH, ONE GUY IN COMMON: DR. DRE.
HE'S THE EXPERT, NOT ME.
OUR JOB IS TO PROTECT THEM SO THEY CAN MAKE THE MUSIC THEY WANT TO MAKE.
GIVE THEM AN ENVIRONMENT WHERE THEY WANT TO MAKE MUSIC THEY WANT TO MAKE.
I--I DON'T KNOW HOW TO MAKE A HIP-HOP RECORD.
I WOULDN'T KNOW WHERE TO BEGIN,
BUT I JUST, UH, I JUST KNOW WHEN PEOPLE ARE REALLY TALENTED,
AND I FOLLOW THEM.
AND THAT'S WHAT I'VE ALWAYS DONE.
IT'S LIKE WORLDWIDE.
I AN AMERICAN PHENOMENON.
THERE'S KIDS IN DUBLIN, THERE'S KIDS IN BELFAST, IN PARIS,
IN ITALY THAT--THAT RELATE TO 50 CENT
AS MUCH AS THEY WOULD IN LOS ANGELES OR NEW YORK.
SO YOU'RE TALKING ABOUT PROBABLY
EMENT IN MUSIC.
IT'S BIGGER THAN ROCK-'N'-ROLL AT THE MOMENT.
IT'S MORE THAN MUSIC, IT'S A LIFESTYLE,
IT'S A-- IT'S A COLLOQUIALISM, IT'S A DRESS,
IT'S A-- IT'S A SPIRIT OF ENTREPRENEURSHIP.
IT'S EVERYTHING. IT'S A WHOLE LIFESTYLE.
AND IT'S-- IT'S MORE SOCIOLOGY THAN IT IS ABOUT-- ABOUT JUST THE MUSIC.
YOU KNOW, IT'S A-- IT'S A LIFESTYLE.
THIS HAS BEEN PROBABLY THE MOST DIFFICULT AND CHALLENGING FILM
THAT WE'VE HAD TO WORK WITH HIM SO FAR.
IT'S VERY DIFFICULT TO SUSTAIN MELODY WITHIN THIS FILM.
A LOT OF RAP'S LYRICS ARE, LIKE, VERY PRO-VIOLENT, IT SEEMS,
OR, YOU KNOW, MISOGYNISTIC.
BUT I THINK THEY EXPRESS, LIKE...
THEY LET THE STEAM OUT OF THE CULTURE, YOU KNOW?
THEY EXPRESS THE PRIMITIVE THINGS
THAT PEOPLE DON'T WANT TO EXPRESS
BUT THAT KIDS FEEL, BUT THAT THERE'S NO AREA TO PUT.
?
THEY JUST GROW UP
AND THERE'S NOWHERE TO PUT THESE CONFUSED FEELINGS THAT THEY HAVE.
♪ 2 *** IN THE FRONT, 2 *** IN THE BACK ♪
♪
♪ THE VOICE IN MY HEAD SAY, "*** ALL THESE ***" ♪
♪ THEN I START THINKIN', "I SHOULD ROB ALL THESE ***" ♪
♪ MAN, MY HOMIES, THEY WANNA DO WHATEVER I WANNA DO ♪
♪ I SAY, "I WANNA EAT" THEY SAY, "***, WE WANNA EAT, TOO" ♪
♪ LET'S RIDE AROUND, FIND A *** STUNTIN' ON FRONT STREET ♪
CAN YOU PLAY FOR MAJESTIC THIS SONG?
OK.
[inaudible]
♪ *** A SKI MASK MAN, *** KNOW WHO I IS ♪
♪ I GOT A FULL CLIP AND *** KNOW I GET BIZ ♪
♪ I'LL WHIP YA HEAD, BOY ♪
WE HAVE A MOBILE STUDIO OUTSIDE THAT...
(Lighty) IT'S THE SIZE OF A TRUCK.
A LONG TRUCK THAT MAYBE 4 OR 5 OF US CAN SIT IN AT A TIME.
BUT IT HAS OUR WHOLE TECHNOLOGICAL...
UH,
ABILITIES OF A REGULAR STUDIO AND WE GO IN THERE...
(Sheridan) THAT'S THE WAY IT GOES.
SO HERE'S THE WAY IT GOES, 50.
YOU'RE IN THE LOVE SCENE.
AND YOU COME TO THAT MUSIC. JUST...
THE--THE LOGIC OF IT.
YOU'RE IN THE SCENE, YOU HAVE THE ROW, YOU *** AWAY THE MORPHINE,
WHATEVER, YOU GO OUT, YOU SAY, "I'M SORRY, BABY."
YOU SAY, "I'M GONNA *** KILL MAJESTIC HERE WITH WORDS."
YOU GO IN, YOU TAKE OFF THE THING, YOU PUT IT DOWN,
SHE PUTS HER FINGER IN YOUR MOUTH TO TEST THE SHRAPNEL.
FEELS IT, HER FINGER
IS THAT THE FRAGMENT?
(Sheridan) YOU LICK HER FINGER, INTO BED.
"I'LL WHIP YOUR HEAD OFF, BOY," ***,
"I'LL WHIP YOUR HEAD OFF, BOY," RIGHT?
IT'S GOING, AND HALFWAY THROUGH THE LOVEMAKING SCENE,
YOU JUST HEAR "NO, NO, NO. STOP, STOP, STOP!"
AND YOU CUT TO YOU IN THE STUDIO, GOING...
WITH A PIECE OF BONE, WITH A PIECE OF WOOD.
THE LAST BIT OF IT HAS TO BE
"DON'T THREATEN MY KID, DON'T THREATEN MY WIFE
"I'LL COME AND TAKE YOUR *** LIFE." DO YOU KNOW WHAT I MEAN? OK.
I'M TRYING TO...
(50 Cent) YOU WANT TO CHANGE LYRICS ON THE SONG?
YEAH.
HE CAN'T KILL SOMEBODY AT THE END OF THE MOVIE, 'CAUSE HE'S 50 CENT.
SO WE CAN'T USE THE MUSIC 'CAUSE IT'S 50 CENT MUSIC,
AND HE CAN'T KILL SOMEBODY 'CAUSE HE'S 50 CENT IN REALITY.
(Sheridan) BACK TO MAJESTIC. THAT'S GOOD, ISN'T IT?
♪ I'LL WHIP YA HEAD, BOY, YOUR CAP COULD GET PEELED ♪
♪ I'LL WHIP YA HEAD, BOY ♪
GO AHEAD. THIS VERSE CAN BE MAJESTIC, TURN HER UP.
YEAH.
NO, HE AIN'T GONNA LIKE THAT.
YEAH, WELL, *** HIM.
YO, WHO YOU TALKING ABOUT NOW?
HEY, MAN, SHUT UP AND PUSH THE BUTTON.
YEAH, MAKE THAT *** RIGHT, MAN.
♪ TWO *** IN THE FRONT, TWO *** IN THE BACK ♪
♪ THAT'S 4 *** RIDIN' STRAPPED IN GRANDPA'S CADILLAC ♪
YEAH, 50 WAS SHOT UP, HE WAS LYING THERE WITH *** 9 BULLETS,
YEAH.
...AND JA RULE IS *** NUMBER 1.
HELL, YEAH.
THAT *** WAS CRAZY.
NOW HE CAN'T SELL 2 RECORDS, THOUGH.
(50 Cent) I DONE *** HIS LIFE UP.
(Sheridan) MAJESTIC WAS VERY DANGEROUS.
NO, I DON'T WANNA GET ANYBODY KILLED, MAN.
AND THERE'S THIS SPECULATIN THAT THAT CHARACTER
IS THE GUY WHO GOT 50 SHOT.
HE'S IN PRISON NOW.
'CAUSE 50 DISSED HIM IN A SONG, I THINK,
IT'S LIKE IT IS IN THE MOVIE, YOU KNOW?
CALL SHOTS, WHEN THEY HIT YOU,
,
AND WHEN I DON'T HIT YOU, I'M GONNA SAY ***.
HE WAS SHOT OUTSIDE HIS MOTHER'S, GRANDMOTHER'S HOUSE,
***.
YOU KNOW, WE HAVE IT HAPPENING AT NIGHT.
IT PROBABLY DIDN'T HAPPEN AFTER A ROBBERY, HE WAS ACTUALLY IN A CAR.
***, LEG.
THE GUY WHO WAS SHOOTING HIM PROBABLY HAD A BULLETPROOF
***!
AND TRYING TO GET HIM, TO SHOOT HIM IN THE HEAD.
AND 50 ACTUALLY HAD A GUN, I THINK, AND WAS TRYING TO FIRE BACK.
[mimicking gun firing]
(50 Cent)
TO RE-ACT SOME OF THE MOMENTS,
BECAUSE THERE'S A PORTION OF THE FILM WHERE I'M ACTUALLY SHOT
AND THAT'S AWKWARD, YOU KNOW.
THERE'S... I'M JUST WATCHING THE FILM,
AND I'M SEEING MYSELF GET SHOT AGAIN, AND IT'S LIKE,
EVERYONE ELSE ON THE SET THAT'S WATCHING
IS NOT SEEING WHAT I'M SEEING.
YEAH, BUT, IT'S SLIGHTLY DIFFERENT,
BUT ALL OF THIS-- ALL OF THE THINGS IN IT, COME FROM IT,
LIKE, IN THE FILM, I GET OUT OF THE CAR, WALK AROUND,
BUT IN REAL LIFE, I GOT SHOT IN THE VEHICLE.
NE KILL,
(Sheridan) THE RECOVERY IS KIND OF SIMILAR,
HE DID HAVE TO GO TO THE POCONOS,
BUT G-UNIT WASN'T AROUND TO GO WITH HIM AT THE TIME, YOU KNOW?
NOBODY WENT WITH HIM.
...TO HIS HEAD, HE'S JUST GONNA MOVE HIS HEAD LIKE THAT.
YOU KNOW WHAT I MEAN?
THAT'S YOU.
WOW. LIKE, OW.
HE WAS AMAZING TODAY, WASN'T HE?
JUST LYING THERE FOR 3 HOURS?
ZEN. I MEAN, HE WAS AMAZING, HE SILENCED EVERYBODY.
DIDN'T EVEN EXPLAIN TO HIM NOTHIN.
ANYBODY CAN WALK AROUND, AND SCREW THEIR FACE AND TOUGH AND...
THAT DON'T MAKE YOU TOUGH. YOU LOOK TOUGH, BUT IN ACTUALITY,
(Hayden) THAT DOESN'T MAKE A PERSON TOUGH.
IT'S WHEN YOU'RE IN A SITUATION
AND HOW YOU DEAL WITH THE SITUATION
THAT DETERMINES YOUR TOUGHNESS.
HARDEST WORKING MAN EVER.
I GOT, YOU KNOW, 2 COUNTRIES I'M NOT NUMBER ONE IN.
AS SOON AS THIS FILM IS OVER, I'M GOING THERE TO FIND OUT WHY I'M NOT.
(Howard) JIM CAN TURN, IN A COUPLE PICTURES
JIM COULD TURN 50 INTO AN OSCAR-WINNING ACTOR.
(Sheridan) JUST TURN THE STREET,
RIGHT, ALL THE WAY ROUND INTO THE CAMERA.
YOU KNOW, LIKE SWING RIGHT ROUND, JUST...
YEAH.
NO, NO, GO BACK. GO BACK, BACK, BACK, BACK.
CLICK ON, NOW, AND LET'S SEE YOU LOADING IT, YEAH?
NO, IT DOESN'T WORK, THAT.
JUST TAKE YOUR HAND DOWN.
HE'LL DO A SCENE 100 TIMES, TILL HE GETS IT RIGHT BY 50.
AND I WAS DEFINITELY THE ONE SAYING, "I NEED AN ACTING COACH."
"YOU DON'T NEED AN ACTING COACH." "I NEED AN ACTING COACH."
"LISTEN, YOU DON'T NEED AN ACTING COACH,
I'M GOING TO BE THE ACTING COACH."
LET'S WATCH. YOU'RE GONNA BE LIKE, "NO, NO, NO, WRONG!
I WOULD HAVE DID IT LIKE THIS."
WE'RE MAKING IT LIKE IT'S...
3 SEPARATE BEATS AND ACTUALLY THE WHOLE BEAT IS
'S APARTMENT. HAPPEN.
THE MINUTE MARCUS COMES IN, YOU GOT TO GET HIM TO TRUST...
YOU GOT TO GET HIM TO TRUST US.
NEED TO COUNT THIS?
NO, YOU DON'T NEED TO COUNT IT.
YEAH? HOW MUCH YOU NEED?
I NEED A FULL BIRD.
YEAH.
FULL BIRD.
TODAY I FEEL REAL GOOD.
THANK YOU, JIM'S MAKING ME A STAR.
I GOT TO GO TO HAIR AND MAKEUP.
HAVE TO TAKE THE KID TO HAIR AND MAKEUP.
THEY CHANGED THE PLANS UP,
TO GET HIM LOOKING PRETTY.
HE A STAR, HE KNOW HE A STAR, TOO.
THAT'S THE FUNNY THING. LOOK AT HIM.
THAT'S A STAR'S ATTITUDE RIGHT THERE, CHECK HIM OUT.
(Sheridan) IT'S A CHALLENGE, FOR ME
TO WORK WITH A NON-ACTOR
AND I KNEW, YOU KNOW, IN THIS CASE,
THAT 50 HAD NO EXPERIENCE, NO TRAINING, AND...
BUT HE HAD A PRESENCE THAT'S AMAZING,
THAT--THAT'S JUST STAR-QUALITY, I THINK.
(Sheridan) YEAH, YEAH, THEN COME BACK HERE
AND MAKE THE DECISION, 50, NOW MAKE THE DECISION. LET'S GO, SLOW.
WHOA, WHOA.
RELAX. TAKE IT EASY.
(Sheridan) ON-SCREEN, FIRST IMPRESSION IS WHAT HE IS DEEP DOWN.
I THINK THAT'S FUNDAMENTALLY WHO HE IS.
[gun firing]
BUT I THINK THAT HE IS,
SOMEBODY HAVING SURVIVED AND BEEN THROUGH WHAT HE'S BEEN THROUGH,
HE'S CAPABLE OF PLAYING WITH LIFE, BEING PLAYFUL
AND LIVING EACH MOMENT AS IF IT'S HIS LAST,
SO HE'S CHARMING TO BE WITH.
(Sheridan) THEY GOTTA MATCH.
2 NUMBERS GOTTA MATCH.
DEWEY DECI, YOU WON.
IT'S BECAUSE YOU HAD A 4 AND HE ROLLED A DEUCE.
HEY, WOULD YOU SHUT UP?
[all laughing]
WE'RE IN THE 'HOOD.
LUCKILY WE HAVE JIM SHERIDAN TO P
WELL, LIKE, I MEAN, THE PROBLEM IS HE...
LIKE, HE TOLD ME HE WASN'T GOING TO THROW THE MONEY.
AND THEN HE THROWS THE MONEY.
[crowd screaming]
(woman) GIVE ME IT! GIVE IT!
[cr
50 GIVES AWAY THE MONEY, THE REAL MONEY.
50 GIVES AWAY REAL MONEY.
(Sheridan) THROWING MONEY'S MAD.
THAT DROVE ME MAD.
YOU JUST DON'T CHUCK DOLLAR BILLS IN THE BRONX,
I SAID TO HIM, "THAT'S GOING TO DRAW A BIG CROWD.
I DON'T CARE IF YOU'RE 50 CENT OR NOT."
YOU KNOW, AND BEING 50 CENT, AND THROWING DOLLARS, THAT WAS LIKE...
IT WAS LIKE HAVING A LOT OF BEES AROUND THE HIVE,
AND SUDDENLY, LIKE, EVERYWHERE,
AND LITTLE KIDS WERE ON THEIR WHEELS, AND I LOST MY TEMPER.
[crowd clamoring]
COME SHOW US SOME LOVE, 50.
OH, 50, I LOVE YOU.
(50 Cent) HOW YOU DOING?
CAN I TAKE A PICTURE OF YO
I LOVE YOU SO MUCH, Y'ALL. I GOT... YOU SHOULD SEE MY ROOM,
YOU SHOULD SEE MY *** ROOM.
LOVE YOU, JUST LOVE YOU.
(man) LET'S GO, LET'S GO, LET'S GO, CLEAR, CLEAR, CLEAR.
GOING AROUND?
creaming]
THIS IS REAL!
[crowd clamoring]
STAY BACK.
*** 50.
HE'S MAD.
(Lupi) THAT'S REALLY CRAZY.
I WAS JUST THINKING, I DIDN'T WANT ANY OF THE KIDS TRAMPLED.
SO I PICKED UP THE CHILDREN.
THEY CAN FREAK OUT UNTIL IT STARTS.
***, YOU'RE TELLING ME, ***, ***...
I THOUGHT HE WAS GOING TO HIT ME.
NOW I KNOW FOR SURE,
WHATEVER HE WAS DOING IN IRELAND
THAT HE SAID HE DIDN'T DO, HE DID.
[all laughing]
THIS IS
IT'S SUPPOSED TO BE JULY 4 IN THE FILM SOON,
BUT IT'S JUST AFTER, WE'RE HAVING THUNDERSTORMS.
I LOST MY TEMPER YET, WAS IT YESTERDAY OR THE DAY BEFORE
WITH 50 FOR THROWING THE MONEY.
BUT I THINK HE WAS ONLY TRYING TO BE
NICE TO ALL THE KIDS.
BUT HE'S A KID AT HEART.
SO HE STILL HAS THAT CHILDISH REBEL INSTINCT.
SO I LOVE HIM FOR THAT.
YEAH, TODAY IS MY BIRTHDAY.
IT'S GREAT.
EVERY DAY IS MY BIRTHDAY.
EVERY DAY IS A GREAT DAY, I WAKE UP...
AS LONG AS I'M NOT PHYSICALLY HURT
AND I CAN MOVE FORWARD AND PROGRESS, I FEEL GREAT.
(Sheridan) SO LET'S JUST DO THE END,
WE'LL DO THAT ONE IN THE CAR, THERE.
(boy) YO, 50.
HAPPY BIRTHDAY, 50.
JIM'S SNEAKY.
LOOK AT THAT.
[exclaiming]
50. THIS IS BECAUSE MY NAME IS 50 CENT.
I AM NOT 50 YEARS OLD.
IF I WAS, I'D BE SAYING I WAS 39.
(Sheridan) I DON'T KNOW, I MEAN, WHAT I THINK IS, YOU KNOW,
EP FIGHTING
YOU KNOW, YOU CAN...
UM,
IT'S THAT SOMEBODY CAN ALWAYS MAKE IT OUT THERE, YOU KNOW?
GO LIKE THIS, WALK DOWN THE FRONT,
LOOK, THAT MUSIC IS PLAYING THEM UP.
THEN YOU GET TO THE END, TAKE OFF THE THING AND GO IN FOR THE...
THERE'S VALUE IN THE LIVES OF PEOPLE
IN SHERIFF STREET AND THE BRONX,
BECAUSE THEY FEEL THEMSELVES BEING EXPRESSED THROUGH
50'S,
YOU KNOW, LYRICS. AND MAYBE IN THE NAME OF THE FATHER
AND MY LEFT FOOT IS KIND OF WORKING-CLASS PEOPLE
SEEING THEMSELVES ON FILM
AND THINKING THEIR LIVES ARE NOT ALL HOPELESS, YOU KNOW?
[crowd cheering]
[crowd screaming]
♪ THE TOP FEELS SO MUCH BETTER THAN THE BOTTOM ♪
♪ SO MUCH BETTER ♪
♪ ***, YOU'S A WINDOW SHOPPER ♪
♪ MAD AT ME, I THINK I KNOW WHY ♪
♪ ***, YOU'S A WINDOW SHOPPER ♪
♪ IN THE JEWELRY STORE, LOOKING AT *** YOU CAN'T BUY ♪
♪ ***, YOU'S A WINDOW SHOPPER ♪
♪ ***, YOU'S A WINDOW SHOPPER ♪
♪ IN THE JEWELRY STORE, LOOKING AT *** YOU CAN'T BUY ♪
♪ ***, YOU'S A WINDOW SHOPPER ♪
♪ IN THE DEALERSHIP TRYING TO GET A TEST DRIVE ♪
♪ *** YOU'S A WINDOW SHOPPER ♪
♪ MAD AS *** WHEN YOU SEE ME RIDE BY ♪