Wu-Tang’s RZA Talks Second Chances and Cut Throat City Film By Allison Kugel

Allison Kugel: Do you believe anything is possible, or that circumstances dictate our destiny?

RZA: Wow, that’s a strong question. I think that persistence overcomes resistance. Therefore, every possibility is actually expressed in our children’s wishes. The things we wish for as young minds and things we thrive in our spirits for, I think they make that which seems impossible, possible. The whole Greek study of Icarus and the idea of men flying… that seems like it would be magic or some other thing. We fly every day now in many different variations of flight, for example, flights that leave our basic atmosphere and travel across the whole world. So, what seems impossible, I think positivity and possibilities are probably boundless. 

Allison Kugel: What lessons can be learned from poverty, and what lessons can be learned from wealth? 

RZA: Poverty and wealth are two very different circumstances, but those are physical circumstance. I think we have to be conscious to not have the physical circumstance truly shake our spiritual and our personality. I grew up in poverty, but I was never unhappy. Joy and love were in our household. My mother was a single mother, but joy and love made up for the lack of food and shelter. The point I make in saying that is, of course, in a capitalist society our freedoms are compartmentalized. Therefore, you could be physically free and not spiritually free. You can be spiritually and physically free, and not economically free.  Since economic freedom is a requirement for proper food, clothing, and shelter, it can become something that transcends the physical, and bleeds into the spiritual. If life was simple, everything we want is already provided for us by the planet. There is nothing on this planet that we eat, ingest, take, dance with, fly with, that is not from the planet. It’s just that when you are dealing with certain [economic] systems, they take control over us. Even in some religious traditions they have ways of controlling what is naturally ours. I’m out here in New Jersey in the woods right now, and I just saw some deer walk by. A whole family [of deer] eating whatever they ate and they keep walking. 

Allison Kugel: I had a similar moment when I looked at a family of birds outside my house, and they don’t need anything. They’ve figured all of it out for free, on their own.

RZA: Yes! There is a beautiful verse in the Holy Quran that speaks on that. I’ll paraphrase it. It says something like, “The birds and the bees are taking care of every day with no worries. Do you think Allah would do less for man, his greatest creation?” Everything they have access to, we have access to. It’s that we grabbed control over it and denied access to certain people. That’s playing into the theme of my film (RZA’s latest directorial effort, Cut Throat City, streaming on Netflix).

Allison Kugel: Yup! That’s why I’m asking about it…

RZA: One of the biggest issues of the situation in this film that I hope the audience catches is that Blink (played by Shameik Moore) goes in with his wife (played by Kat Graham) and child for help from FEMA and they ask, “What is your salary?”  She says, “About $32,000.” Not a bad salary and not a great salary…  

Allison Kugel: It’s a hard salary. It’s a salary that would be very challenging to raise a family on. Would you agree?

RZA: Yes, I would agree. And within that salary she’s paying a third of that in taxes. Her tax money is paid into a system to protect her when the time comes that you need the protection. Now here it is, I’m in need of what I paid into and I’m being denied because of my community or because of my race. That is the equation we overlook in our capitalist society. The money that they spend every year is not their money, it’s our money that they are controlling. 

Allison Kugel: After watching your film, Cut Throat City, which depicts the lives of people living in New Orleans’ Lower Ninth Ward in 2005, post-Hurricane Katrina, I researched and read that in 1965 there was also a catastrophic hurricane in the area.  Same thing happened, where the levees were not maintained properly and they broke. They already knew there was a strong possibility it could happen again, and yet they did nothing to protect these people.

RZA: The line that Ethan Hawke gives in the film, he talks about how it also happened in the early 1900s, but it was more intentional. They let the levees break so the water could flood the lower land and it wouldn’t spread up to the white districts. The thing about separation of people who are of color or [lower] economics, it has existed for a long time in our country and there is no relief and no delivery from the situation. Even if the Lower Ninth was built to be low income, as your city is growing and your tax dollars are coming into your city, those resources should be used to ensure everyone’s safety and security. In the beginning of the city’s history, I understand. I started in a small apartment when I left my house. I was nineteen years old and my mother said the time had come to go. I started in a small apartment and (Wu-Tang Clan member) Ghostface [Killah] was my roommate. We had another roommate, my cousin Rob. We lived there, three guys in a one bedroom, and we stayed there until we raised enough money to get a two bedroom (laugh). You know what I mean?

Allison Kugel: (Laughs) Yes! I do know what you mean.

RZA: We kept going, and it even got to the point where one of us could move out and one of us still stayed, and that lasted until we hit it big. The point is, it’s okay to start at the bottom and struggle, but when there is no relief from the struggle, that is when it becomes insidious, evil, and oppressive. Like I said, the money that FEMA was giving in 2005 for Hurricane Katrina Relief was the money that came from the people. It wasn’t [FEMA’s] money.

Allison Kugel: I’m assuming you spent time in New Orleans prior to directing Cut Throat City?

RZA: I traveled there many times and spent three weeks studying the city. This film wasn’t just about these four guys in the aftermath of Hurricane Katrina. It was the fact that this was a story about what happens when your aspirations turn into desperation. That I know, that I’ve felt, and that I’ve lived. I come from a single mother household and so does my whole crew. Seven of the nine members [of Wu-Tang Clan] are that. In this film, Blink (the film’s lead character) was a nerd, in all reality. He was an academic and went to college. He had a talent, you know?

Allison Kugel: That is what is so heartbreaking about this story. Here is a guy who went to Tulane University, who has extraordinary talent for drawing and storytelling, and it’s wasted talent. It’s a squandered life.  But then at the end of the film, there are two different endings. Explain that…

RZA: A lot of people have been tweeting about that and asking what’s going on. The artist in me left it up for interpretation. If you go back and look at the film closely, you’ll see that there is an egg in there that should answer the questions. Maybe people missed it, but the reason why I did that is because in life, very few of us get second chances. But, what happens if you give a man a second chance? I, myself, am a second chance-er. When I read this story, I felt the character Blink all in my system. I felt his pain. Then I realized I actually was an artist and a smart guy who got caught up in gangs and the streets, and ended up facing eight years in jail, but I won my trial. When I won my trial, I changed my life. I focused on study and making myself better, looking at my creativity, and I formed The Wu-Tang Clan. I became a success story, because I was given a second chance. 

Allison Kugel: Sometimes a single decision can change everything…

RZA: And I wasn’t bad. A lot of people are not bad, they just made a bad decision. [I wish] the criminal justice system could look at it that way. Most of the guys in the Wu were the same. We were all arrested felons or something like that, and we had a second chance. I wanted to express that in this film. In the original screenplay, though, I have to be honest, he dies. But as a director I get to tell the story and I get to shape it. I wanted to shape it with optimism.  I said, “I’m going to leave some optimism there and let the people who watch it decide, which pill would they take?” In the film the detective tells him, “A pen will get you further than a gun.” I’m living proof. It was a pen that got me further than anytime I was trying to do something foolish with a gun. 

Allison Kugel: Speaking of which pill to take. You strike me as a guy who operates outside the matrix. I know you’re part of the Five Percent Nation. Do you sometimes feel like you don’t quite sync up with the everyday person?

RZA: No. I don’t feel like I don’t sync up. I feel blessed that I see the beauty of what I see.  Whether anybody else sees it or not, it’s okay. It’s not like, “Man, wow, they’re missing it.”  Even as a vegan and never having a yearning for steak, never having the idea in the back of my head of the pain I’m inflicting on someone else; it’s a very liberating feeling to not be the cause of pain and turmoil to any living thing. I actually feel more required to do what I’m supposed to do, so that if there is positivity in what I’m doing, may others see it. They’ll see it in their own given time, and I’m okay with that.