All language subtitles for Hart to Heart s02e08 Tyler Perry.eng

**

-My guest today is the living
definition of a mogul.

Let's go down the list.

He writes, directs,
produces, acts.

To raise the game
to another level, well,

the guy decided to create
his own studio empire.

I want to say that again,
because I don't want that

just to speed past you
or fall on deaf ears.

He created a studio empire.

And there's only one man,
only one man

that I can be talking about,

and that one man
is right here today.

It's an honor to call
this one man

a friend, actually a friend,

an inspiration,
a goddamn reason to want.

I'm talking about
none other than Mr. Tyler Perry.

Come on out here, T.P.

Woo-hoo-hoo.
-Thank you, man.

-How are you, sir?

-I'm good, man. I'm good.
-Goo to see you, man.

-Where the hell are we?
We in your in your wine room?

What's happening?

-Well, I make it look like
whatever I want it to look like,

for the people here, T,
to keep the lie alive,

we're in my wine cellar.

T, I am very excited
to have you on here.

I believe that
these conversations happen

over a glass of wine.

T.P, do you drink?

-Yes, but I'm doing dry
this month.

-Dry? You're going
dry this month?

-Yeah, just this month. Yeah.
I'm gonna just do --

-What happened last month?
-I was drinking too much.

So I said, yeah, last month.

I said I'm gonna do
30 days of just no drinking.

So, yeah. You got wine?

Well, you don't have to drink,
by the way.

I'm not pressuring you to drink.
Did you fall?

-What do you mean, fall?
-When somebody going dry

for a month, something happened.

-No, no, no. Just like --
-Where'd you wake up?

-Okay, I was in Mexico,
chained to a mule.

The mule's name was Areba.

-Yeah, something bad happen.
-And that was that.

-I'm going to bring out
my somme.

He's going dry this month,
so can we get T.P. some water?

What do you want?

-Anything.
-Ginger ale from Mr. Perry.

-Ginger ale.
That works all day long.

It looks like we doing it.
-What am I drinking?

-Mr. Hart, you are drinking

Spring Mountain
Cabernet Sauvignon.

Exquisite. Elegant.

24 months in about 30%.
New French oak.

It's incredible.
-Dammit.

-2017 vintage, Mr. Hart.
-That's what I'm talking about.

Because if it was 2016, I would
have told you it was shit.

-Absolutely.
-Got to have '17.

7 was the year.

-I wouldn't have took it
if it wasn't '17.

My guy. Thank you so much.

-Very welcome, gentlemen.
Please enjoy.

-I appreciate you, man.
Cheers.

-Cheers, brother. Cheers.
-To you.

To you.
-To you.

-And to you, coming, joining me

into the conversation
we're about to have.

I'd love to start in the now.

Because it's easier
to go backwards, right?

You're not just a talent.

You are a self-made
fucking mogul.

You are a groundbreaker.

You are a reason for business
deals to now be redefined,

because you did
the unconventional

and the untraditional.

You did shit that people
didn't think

could be done, right?

As you sit now in the seat
that you sit in,

shake the hands of
so many powerful people

and fuck, they associate you
at the same level of power.

I mean, damned
if you're not aligned

the same level of power.

Oprah, Barack, Michelle.

Those are just some names.
Jay-Z, Beyoncé.

I mean, we can go down the list
of our black fucking leaders

within our culture
of just people in general.

You shake their hand
and they shake your hand back.

Your reason for being in a venue

and being somewhere is
just as important as theirs.

How does that
make you feel today?

Does that register with you?

-That's a really good question.

I don't know if I

totally take it all in,
as much as it is.

I'm still Maxine's baby.
I'm still my mother's son.

I'm still the kid
that came from New Orleans.

I'm still the kid who who
went through all this stuff,

just with a whole
different world

that's a lot bigger
than it was once before.

But it feels great
to be mentioned

with some of those people
that have influence.

You know, that is really
what's important,

to have influence
and not only to have it,

but use it for the right things
in the right moments,

at the right situation,
the right times.

And let me just say this,
and then we'll get back to

what you're saying.

Watching you,

'cause we're ten years,
almost ten years apart,

like within a couple of months,
ten years plus,

and watching your trajectory
and what you're doing

and how you're doing it and then
the moves you're making,

I've been watching it
for a long time.

I was like, "that's smart."
"Oh, that's smart."

"Oh, misstep there,
but no, he got it over here."

Oh, he did ten steps over here."

So that's what it's about, man.

If we're in these positions

and we've got these names
and these platforms,

it's for us to take
those moments

and say, hey, here's a road map.
Here's what I did.

Anybody who wants to look at it
and take it and learn, let's go.

I constantly run into people --

Jay-Z will tell you
the same thing --

who of, you know,
younger feel like,

"Nah, man, I ain't doing
that shit.

What you talking about? Nah.
I won't talk that."

But the information is

with the people
who already done it, right?

So take take the information
so that you can be better,

be stronger,
be more and understand.

So I just really,
really appreciate

just how you've been
a student of

just so many different things,

watched it, and just taken it
all to another level.

-Well, I'm a student.

I'm a student of those
that have done it

and those that have
done it right.

I'm going to give you
something funny

just for you to understand
why I had to have you on.

-Okay.

-So my mom has
never been to a comedy show.

My mom has never
seen me perform.

My mom has never seen me
in my success, right?

The one thing that me
and my brother did for my mom,

my mom was still living
in Philadelphia, PA,

at the Tower Theater.

My mom was
a very religious woman.

Me and my brother
got her tickets

to a Tyler Perry "Madea" play.

-You've got to be kidding me.

-Hand on the Bible.

I swear to God.
-Wow.

-Hand on the Bible, right?
We bought her tickets to a play.

You know, we didn't have
the best seats in the house,

but we had seats
in the Tower Theater.

I'll never forget this,
because the Tower Theater

was a big deal
for anything to come through.

-Yeah.
-Right?

-This is Philadelphia, PA,

so there's not many places
that you can go.

So you coming was something
that the church,

my mom, it was a conversation.

My brother, at the time,

he wasn't doing
the right things in life.

He had the money to get
the tickets. We got the tickets.

Let's not get into
what my brother did, okay?

We got the tickets.

But one of the happiest moments
of my mom's life

was the association
of her and her sons

at a play that had
religious beliefs, background.

-Wait, you went, too?
-I had to.

-First of all, I don't know
what you're saying.

I don't know why you said it
like that.

-No, no, I didn't say
it like that.

Just the thought of,
there's a young Kevin Hart

in my audience.
-Tyler, I was 15 years old.

-Wow.
-I was 15 years old.

-16, 16.
-Wow.

-But this is a play that me
and my brother took my mom to.

This is one of the few things
that my mom did with her sons.

But we treated her.

My brother, older brother,
me and my brother are

eight years apart.

My mom was so happy at

the fact that she did this
with her boys.

"Holy fuck. I'm watching Madea.

I'm watching this moment.
I'm watching a live play."

I had no idea where my life
is going to take me.

I had no idea what my career
would bring,

or is going to bring,
and for years,

I've held on to this.

I've held on to this thing,
'cause I'm like,

this man don't even
fucking know.

Like, I'm connected
to a piece of a puzzle

he has no idea exists.

And that puzzle,

that puzzle was
the only entertainment

that I've ever seen
my mom go to.

-Wow.

-My mom never associated
herself with me

in a comedy show, a bar.

A comedy club, smoky.
She didn't do smoke.

She didn't do alcohol.

That was a safe haven for her.
-Man.

-So it's connected.
-Yeah.

-So me wanting to talk to you
in this particular environment,

well, there's a lot
of reason for it.

Because, A, I remember back
then, watching and seeing

what your version of
live entertainment was.

And now I look back then,
you made that a business.

-Yeah.

-It's your fucking business.

-Well, before we go there,
I just the thought of --

first of all, mothers,
mothers and their sons,

and just the thought of --

one of my biggest worries
was that my mother,

I wouldn't make it
a quick enough for her to see it

or be able to take care of her
or be able to --

for her to understand, you know,
that my dreams were real.

I did make it,
and she died in 2009,

but she got
a chance to see it all.

So to know that your mother
was there with you

in that moment
and never got to see

this level of success for her
son on this side of heaven,

because she's
that kind of woman.

She's totally looking down
and having a whole lot of hand

in what's happening
in your life, right?

So, for you to have
this moment with her there

means so much to me,

because I know exactly
what that means,

when you have your mother that
you love and you care about.

And she didn't
get to see it, man.

So that's incredible.

-How does how does
Tyler Perry know

to tap into that audience then?

-Oh, listen, I grew up
in the house with my father,

who was a motherfucking man,

and my mother loved him
with all her might and strength.

So here I am, a kid that
he hated because I was creative.

I would write and draw.

He's like, "Look at this shit.

The fuck you think you --
Get them --"

You know, he'd hit me
upside the head

and all this other stuff,
right?

But her love and her passion,

not just for me,
but for him, blew my mind.

I'm like, how can you love
this horrible person?

-You and your dad are
not close, I assume.

-No, not at all.

I haven't talked to him
in probably 11 years.

But he gets a check every month.

Brand new house. Brand new car.

Absolutely
Because my mother asked me to.

So I gave him what he gave me.

We were never hungry.

There was always
food in the house,

and the lights were always on.

So I make sure
he have that, right?

-Okay.
-But he's missing the best part,

which is a relationship with me.

Anyway, but just
being at her apron,

watching her struggle
and go through this stuff,

I had a very open heart
to not only her,

but just women,
black women and my sisters

and what they dealt with,
with men and struggling

just watching black --

-How many sisters?
-I had two older sisters.

I don't know how you can sit
in the lap of a black woman

and watch her go through
that kind of hell

and it not affect you.

So all my first movies
were about my mother

subconsciously,
"Diary of a Mad Black Woman."

You know, the critics
are saying, "This is bullshit."

This and that.

But what the thought of
this character

meeting a man who was abusive

and then find another man
that loved her

was something
I wanted for my mother.

Like, you're worthy of love.

You're worthy of
somebody doing that.

So that's where
all of the career started.

So being on stage and
looking out and seeing

nothing but a sea of
mostly black women,

dragging their boyfriends,
dragging my husbands in,

it was something that
I tapped into that I realized,

"Wait a minute, this is bigger
than just you up here

telling a joke, man.

You got to take this thing
seriously."

-What I find
the most intriguing is

the church crowd,
the church audience.

-Yeah.
-The loyalty

that they have presented
and that they have had

to you and your world.
-Yeah.

-When you talk about
just live --

let's talk about the live show.

I'm going back, Tower Theater.
My mom, live show, sold out.

I'm talking about merchandise.
I'm talking about playbooks.

I'm talking about shirts.
I'm talking about hats.

There's so much.

There's a real business
around this thing.

And at this time,

well, you were at
the forefront of the business.

And granted, this is
the higher side of the career.

It starts off small.
-Right.

-So when you get here,
you're now seeing the business.

You're now seeing this thing.
You're putting people in place.

Who the fuck...?

Who helped you with that
then in that space?

Who acted as your liaison
to information?

-Trial by error, man.

When I was started doing these
shows and doing these plays,

I started learning.

Like, I'm boy from New Orleans.

I don't know.

This one girl worked for me.

She was from Newark,

and she was hard,
quick, and fast.

And I'm just like, whoa,
and I'm a boss.

I got to figure out, okay,
how do I work with you

and how do I get the best out
of you and everybody be happy?

Then I had somebody from
California who was, "Yo, dude."

It was all ladies,

so I got all these
different personalities.

So here I am as their boss,

trying to figure out,
how do I navigate?

How do I get the best
out of every person?

Well, same skill set now,

when you've got hundreds
and thousands of people

coming into the studio.

It's like, okay, who are they?
What makes them click?

What is the best way
to get the best out of them?

Even with money.
Nobody taught me about money.

Nobody.
My folks didn't have any money.

And there was a pathology of,
you don't get money

until the next week
when you're broke,

so you have to be broke
to get more money.

That was
the pathology of our life.

And I grew up
with that thinking, okay,

I got to get rid of
all of this money

so that I can have more money.

The first year that
I made money, in '98,

I made $100,000 on my play.
I was like, whoa.

Then I get to the end
of the year and got...

Bro, you got like $30,000
in taxes you can't pay.

-Taxes, bro.
-Yeah, right?

-Be able to have money
after taxes.

-Exactly right.

So having all of these,
it was all trial by error,

and I thank God --
this is what I thank God most.

I've watched people
win the lottery.

I've watched
these young kids blow up

and be hugely successful
all at once.

And I feel bad for them,
because what I know is,

ball players coming in,
you come in from nothing

and somebody drops
$1,000,000 on you,

that's almost the worst thing
they can do for you

if you don't know what to
do with it.

-You get the world in a minute.
-That's not good, man.

And I would tell anybody,
even my son,

who's 7 years old,

who, he has this thing,
he's like,

"Dad, I don't know about
going on your plane."

I was like,
"What's wrong on my plane?"

He's like, "I like Mommy's
plane better."

-Mommy's plane
got a bunch of people.

-Yeah, exactly.

You went in Mommy's plane,
it had a lot of people.

Okay, well, you go
keep going on Mommy's plane,

and until you can afford
what Daddy fly on,

you stay on Mommy's plane

so you understand
what that is, right?

But it's all about
just making sure that

as all of these things
are happening to you,

that you're taking
in the information.

That's what I'm saying. That's
what I like about you, man.

You like? "Hmm,
How did that happen?

How did that happen?"
Ask the questions. Be curious.

Never be too arrogant to say,
"I don't know what you mean."

I've been on the phone
with accountants.

They were like, "Well,
if you total the sum of this,

and da da da and over here."

It's like, "Hold on.

I'm the only black person
on this phone.

I don't know what the shit
you talking about."

Not only slow it down.

Explain this to me
as if I'm a 2-year-old.

-That's what I meant
by "slow it down."

-Yeah, right, right.

-Break it down to me in a way
that I can understand it.

-And not be embarrassed
about it.

Flat out not be embarrassed
about it,

because I want to know.

I want to know
what you're telling me.

You holding my money, you
handle this, and I don't know?

No, explain that to me.
-Mm-hmm.

Well, Tyler, just for a second,
let's just put a pause in it.

Little pin.
Guys, we got to take a break.

We got more "Hart to Heart"
when we get back after this.

**

**

-Welcome back.

I'm still here with the man, the
myth, the mogul, Tyler Perry.

Well, here's the thing
that I find, like,

the most mind-blowing, right?

It's like, you find yourself
in this moment,

and you have the
opportunity to be an anomaly.

Oh, my God.

This can be something

that nobody else saw it being,
you know, studios, execs, etc.

It's their job to find out
what people are going to see.

They find you. "Oh, my God.
Look at this shit here.

Holy fuck.
He did this many cities.

He did this thing."

-No.
-What the fuck?

-Wasn't that way.
-How did they come?

-I came out to Hollywood.

You know, Charles King
was my agent at the time,

and I tell him
all I want to do,

and he starts sending me to all
these meetings of Hollywood.

"Well, you have to go here.

You have to do this. You have to
talk to this person."

I'm like, okay,
so I go to these meetings,

and these white folks
look at me like, "Who are you?"

I am sold out all across
the country, black people --

I can't walk down
the street in the south

without somebody saying hello.

Just -- right? Right?
-Yes.

-And I get here
and nobody knows who I am.

So I'm like, okay, I take
all these meetings.

I'm like, alright, I'm out of
here. I can't do this.

I'll just go and keep
selling this out of my trunk

like I've always been doing
with my DVDs, right?

They were bootlegging
the hell out of my stuff.

These bootleggers made me pretty
famous, too, though.

-It's the best.
What are you talking about?

It's the best gift to a curse.

-Yes.

If I had gotten that money

that they were getting, been
a whole different world.

-No, it wouldn't have,

because if you had gotten
that money they were getting,

you wouldn't have got the money
that you're getting now,

because you would have got
that money early on.

If "Soul Plane"
didn't get bootlegged,

I wouldn't have got the
credibility to go on the road

and have an audience doing
comedy at the end of the day.

-I don't know if
that was "Soul Plane."

-I'll go with you,
but I don't know.

-We don't have to go --
-I think it was your talent.

Let's hold up on something here.

Fuck it, Tyler.
You don't have to goddamn get --

Let's not get caught up
on titles.

-It's positive, right?
-Yes, it's positive.

-Okay, great.
-But regardless,

when you talk about --
-[ Laughing ]

You talk about the moment.
You talk about bootlegging.

You talk about the way
that you did it.

I'm really curious as to when
the fucking business side

clicked in. [ Snaps fingers ]

You take the meetings.
You're out here now, alright?

They're all presenting you
or not presenting you.

You go, "Fuck you. I'mma go
finish doing it this way."

But then they got
to come make a deal with you.

So when did you get
the thing to go,

"Here's how I want to do it."

Yeah.
-"Not like that."

-Yeah, I want to own it.
Childhood.

My father, subcontractor,
built the house,

went to work every day,
rain, sleet and snow.

The white man who owned the
house would come by in the rain

and see if we were out there
working, and say hey.

He'd go home on to his house
in his nice Cadillac.

My father's still there,
struggling, working.

Come home Friday,
he gets his check. He got $800.

He is so happy.
"Made $800 this week.

Shit, I'm gonna go out and get
me some malt liquor."

Great. Got your $800.
Great. Alright, there it is.

But then I'm watching the man
who own the house.

He sold it and made $80,000.

I told my mother, I was like,

"Why don't you all do that?
Why can't you do that?

They couldn't see it.

And I don't blame them.
They came from rural Louisiana.

My mother's hope
for me and dream for me --

I was trying to get the plays to
work and they wouldn't work,

she said, "That shit
ain't never gonna work."

She's mad because
I had borrowed $300.

I had rented a van
and it was $300

to do the play,
and I couldn't pay her back.

She was mad as hell and she was
just cussing, smoking.

"I don't know why
you're doing that shit.

These fuckin' plays
ain't never gonna work.

This shit!
Get you a motherfuckin' job!

Go to the phone company,
make about $300 a week.

Get you some benefits,
and that's it."

That was her --
that's your life, right?

-That's it.
-Realistic for them.

-That's the plan.
-Right.

But for me, I was just like, no,
that's something more for me.

So I don't want to be the man
who was building the house.

I want to be the man who owns
the house and sells the house.

So that's where it came in.
I was gonna own everything.

First shows,
I wanted my name on the ticket.

These little, janky promoters,

you know how some of those
can be around the country.

-Balling your money up
and paying you.

-There you go.
"Here you go. Here you go."

If you get it.
-Yes.

-Maybe, maybe.
-If you get it.

-"We didn't do good tonight."

-"But all them people
out there?" "No."

-"I thought we was sold out?"
-"No, no, no, no."

"-You know,
I padded him tickets."

-"I don't want you coming in
here to an empty theater."

-"Yeah, we gave most
of them seats away."

-"I can't do that to you.

Not our first time
working together."

-"It's gonna be alright, though.

All of that's the radio.

The radio gave
all them seats away."

Yeah, the radio
gave all them seats away so.

So you know the stories, right?

-Yes.

-So, but I remember
going into this city

and not seeing my name
on the marquee.

I said, "Y'all got to put
my name on the marquee."

"Well, Tom Jones is
here next week."

"Take his name down.

You got to put my name on
if I'm performing tonight."

They thought, "This nigga's
arrogant. He's crazy."

What I was doing
was building a brand.

I wanted people
to remember the name.

The name had to be
on the ticket.

I wanted them to
remember the name.

It wasn't that I was
trying to be arrogant.

I'm trying to build a brand.

You don't see
Coca-Cola walking around

saying, "Don't put
Coca-Cola on that."

We're building a brand.
-The branding with the name.

-So with that, with ownership,

and then watching Oprah
and realized

that she owned her show,
I was like,

"Okay, I'm not selling anything.
I'm going to own everything."

-When you say you watched Oprah,

is this you as just a student
or a fan?

-I didn't know her.
Yeah, as a fan.

I remember reading the article
about her owning her show,

and I was just,
"What does that mean?"

Because she had
renegotiated her show with,

I think it was King World,
where she had gotten ownership.

I'm like, "How did she --
What does that mean?"

And then I'm like,

"Well, how is she making
all this money?

Oh, because she owns it."

And because of syndication.
She might get mad I said this.

I'm just going to tell you,
sometimes she say,

"You know, there were times
I was getting checks

that I thought were
Social Security numbers,

they were so big,"
you know what I mean?

-Yes, I believe it.
-Yes, right?

-Yes, yes, yes.

That's information
that needs to be given,

because the shock factor.

Now, being friends now,
it's incredible,

because I can call her up

at this point
in her career and life,

and we really lean on each other
for a lot of things.

I was like, "Hey, this, this
and this is going on and this."

"Oh, I went through that in '86.
Here's what you do."

You know, having that
kind of information.

Or calling her up recently
and saying, "Hey, you know,

there's something going on
with the studio where

what they're trying
to get me to do is huge.

And it's kind of wild
and it's amazing."

She's like, "You know,
I think you should do it,

because I did this,
this and this,

and it seems like the new
version of this, this and this."

-The thing that also acts
as an intriguing factor for me

with you is, it just keeps
progressing, right?

We're coming
from the world of plays.

We're coming from the world
of sold-out shows,

and the opportunity
that comes after.

I find out now
that you went and made --

you went, took the meetings
and after taking the meetings,

you figure out the best thing
that works for you.

-Well, I'll tell you what
happened with that, real quick.

I just went to all these
different meetings.

They were like,
"We want to change this."

Talking about "Diary of
a Mad Black Woman."

I was like,
"I'm not changing anything.

"We want to change this. You've
got to add this to the script."

And I'm like, but you're white.

You don't understand.
This is what the audience wants.

-So you were taking
the material to them?

-Yes.
-At the time. Okay.

-Yeah, to a couple of studios.
-Okay.

And it just didn't work,
so I called Charles,

"I'm out. I'm going to Atlanta
and selling out of my trunk."

Then I got a call from Mike
Pasternak over at Lionsgate.

And the reason he said

he called me is
two things happened.

This is why I love when we come
together on the same page.

He was leaving a show,

and I had just played
the Kodak Theater,

and the black people

crowding around, trying to
get to their cars.

And he goes, "Hey,
what'd you guys see tonight?"

"Tyler Perry."

He had never heard of me, right?

So he goes to the office
the next day, right?

He goes to the studio
at Lionsgate,

and he has a meeting
with DL Hughley.

And he says, "Hey, man,

have you ever herd of this guy,
Tyler Perry?"

DL's like, "Man, this guy's huge
all over the country."

I get a phone call saying,
"Hey, Tyler, he came.

He wanted to do this movie.
What do we have to do?"

I was so pissed, I said,

listen,
I'll put up half the money.

I'm going to own 100% of it,
and that's it.

And Charles called me back,
he said,

"Tyler, they're never
going to do that."

I said, "Well, shit,
I don't care."

Called me back, he's like,
"They're going to do it."

-Wow. We got to
take a break, guys.

We got more "Hart to Heart"
when we get back after this.

**

-Guys, welcome back.
This is "Hart to Heart."

And I'm still talking
to the mogul.

Yes, Tyler Perry.
You know what's crazy, though?

Let me tell you
how fucking crazy times are.

You came at the time where
Lionsgate was like,

"Fuck it, we got to figure out
other ways to compete.

We got to figure out other ways
to get our end-of-year number

that end-of-year revenue
to make sense.

Let's think outside the box.

Nobody else is
doing stuff over here.

Maybe this is over here."

So whoever's in that meeting
is fighting it, going,

"This guy's selling out
this many tickets.

These people are coming
to see this.

If he's asking for this,
give it to him.

If it works, oh, my God.
what does it mean for us?"

-Not quite, because the budget
was $5.4 million.

I put up half.
They put up the other half.

And they didn't trust it
so much --

-But you had ownership.
-Hold on.

-They took that other half
and they sold it to BET.

-Ooh.

-'Cause that's how much
they believed in it.

-Off the bat, immediately.
-Yeah, which is great, though.

That's what I tell people
when they run around saying,

"Oh, look at me, look at me."

Stop trying to
tell people who you are.

Shut the fuck up and sit down.

Don't give people your resume
walking in the room,

because you make the best deals
when you're underestimated.

I don't need to tell you
what I've done.

Don't look at my following.
Don't do that.

Don't know who I am.

Let me show you
how to make this deal.

So please underestimate me.

-Wow.
-And that way,

and then the next one came up
and they were like --

Because the guy said to me,

I went to dinner
with another guy

in this company,
who ran the company.

He said, "These movies
if they do $20 million --"

He's like, "This movie
will never do $20 million."

I mean, the first week,
he laughed at me.

-In general.
-Dropped that movie.

$20-something million,
first weekend.

Everybody's scrambling,
going, "Who's this?

Who's Tyler Perry?
What the hell happened?"

So the next one was like,
"Hey, I still own it, guys.

But this time, you got
to pull up all the money."

-Yeah.
-Then the next one,

yeah, you got to
put up all the money.'

But here's what I didn't know.

That when they're talking
about, "Tyler, this budget,"

I didn't realize,
here's another thing

we don't know as black people,
that on their sales calls,

when they were doing things,
talking to their board

and stocks, they were going,

"Hmm, well, we have
two Tyler Perry movies,

and every time one drop,
the stocks went up."

And when I caught it,
I was like,

Oh, I got you.

So I'm helping your bottom line.

-I'm helping your even.
-Yes.

And then what they did was, we
started making better money.

And here comes "Hunger Games."

They ain't put the money
back to me.

It went to "Hunger Games."
-No, no, no.

That money is going back
into these other things.

-Broader, bigger.
Same thing in television.

TBS, "House of Pain"
was a huge hit on the network.

You know, a huge hit.
What happened to it?

Because after film,
I went right into television.

Huge hit. What did they do?

My shows were, like, $300,000
an episode for me to do.

I was figuring it
all out, right?

When they started making money,
got that number up,

they didn't reinvest in me.

They took that money
and went and bought

"Modern Family" reruns for
$1-something million.

I go, hmm.

Okay, so let me understand this.

So every time I come in
and I help your bottom line

and I change it,
you do something to push me out

so you can go
and make more money.

So now I figured out, okay,

I got to get
some stock over here.

I got to get some ownership.

I got to figure all this out
as we're doing this.

I'm not doing this anymore
by my lonesome.

-The crazy thing about
the business is,

everyone questions your moves,
everyone questions your path.

I want to talk about
Tyler Perry,

and I want to talk about
the man and the mind.

-Yeah.

-Did you ever get
fucking flustered?

-With us? For sure, man.

-Okay.
-To walk into these rooms

and sit with white folks and

and try to get them
to understand

and fighting
and battling with them,

and then come out
and then have us say,

"He's a coon and a buffoon.
Why this nigga got on a dress?

What's he doing? Why is this?"

When I'm hearing

all this noise, man,
it was crazy,

because there were
no black people on television.

Before diversity became a thing,

Tyler Perry was the only one
out there for a long time.

There was a moment
where every movie --

after the '90s, where
we had all these black hits,

everything stopped for a minute.

When the CW and WB merged, all
those black shows went away,

and I was
the only one out there.

And what I found out
is that people take shots at

the deer they can see.

Nobody else was doing anything,
so here I am in this moment.

"Okay, what are you
going to do, Tyler?

You trying to get somewhere.
You got to focus.

You know exactly
what you want to do.

You gonna listen to this noise
and let them talk you out

of what you know is yours?"

-By the way, as you're winning.

-Every time.
-As you're winning.

We're talking about noise
that's coming in

as you're winning.

We're not talking about noise

to the fail, which, of course,
is a different type of noise.

We're talking about noise
that's coming in

as you're
knocking down barriers,

as you're doing
the unconventional.

-For us.
-Yes.

As you're creating
different pipelines of revenue.

-Building my whole foundation,

so I can get to
the studio ownership.

So all of it was a part of it.

So I had to keep my eye
on that up there.

You got all this noise here.
I see. I hear y'all.

But I'm staying right here,
because I'm looking up there.

And when I think about somebody
who I love dearly,

who was Whitney,
and I did all I could

to try and help her, man,
Whitney Houston.

I believe she still
would have been alive today

had we not tried to make her
into something she wasn't.

Her being booed
at the Soul Train Awards

were one of the worst things

that could have happened
to her in her life.

People saying she's white
or she's this or she's that

made her want to show --

Because you know, she came
to this industry very young,

but it made her want to show
that she was something different

instead of just realizing,
let me keep my eye on this,

because she's got
the best voice in the world.

If she had kept her eye on that,

none of this other stuff
would have mattered.

-It's the curse
of trying to prove.

-Yes.
-Right?

I think, you know,
you're no better

and I'm no better than

being a victim of the curse
of trying to prove.

It's very hard to avoid
the world of trying to prove.

"Hold on. What?

Because I -- Hold up.
Who you talking to?

'Cause don't get it
fucked up for one minute.

I can --"
It's a thing, right?

And the crazy thing that I think
we have to deal with

or some of us
have to deal with,

is finding a way
to compartmentalize that.

Keep that at bay
and stay on the course,

and look at the good
that's happening on the course,

because this makes
fucking look over here

and for a second,

you stop looking at
all the great here.

-I learned the hard way, man.
I learned the hard way.

It's like driving a car
and things are going

so well, it's 100 miles an hour.

But you keep looking down here
to see what's going on,

you're gonna run into something,

instead of getting
to the destination.

Because by the time
you get to the destination,

all of that noise,
none of it matters.

All those people
who are talking,

trying to get --
it doesn't matter.

Because I've seen
the very same people

who were my worst critics
come and say,

"Hey, man, oh, my God.
This is amazing.

It's amazing. Look what you did.

How did you do it?
How did you do it?"

Actually, I did it
because I ignored your ass.

Right? I kept moving.
-Wow.

-Know what I mean? Yeah.
-Wow.

I'm not gonna ignore you.

I'm gonna take a second to stop.
I'm gonna take a break.

-We're taking breaks?
-Yes.

-Oh, okay, great.
-Just a quick one.

We've got more "Hart to Heart"
when we get back after this.

-More "Hart to Heart"
when we get back.

-No, Tyler, we do have
more "Hart to Heart."

-Tyler, you can't say it.
Let me say it.

-Okay, it's your show. Sorry.

-We'll have more
"Hart to Heart."

-Always produce shit. I was
just trying to help you out.

-It's fucking ridiculous.

-Got more "Hart to Heart"
when we come back.

**

**

-We're back, having another
great conversation --

-Wait, no, Tyler, goddamn it!
-I'm sorry.

-How fast is he?
-I'm sorry. Go ahead.

-Did you fucking catch that?
-I'm sorry. Go ahead.

-We are back. We're still here
on "Hart to Heart."

I'm still with the man, the
myth, the legend, Tyler Perry.

Tyler,
I love what you're saying.

I love the knowledge
and I love the information

that you're dropping and giving.

Here's why, because I feel like
people need to understand

and need to know.

Once again,
I'm going from a side of

what the fuck I'm curious about.

What is it that I'm like,
how, why, what?

Because I know
the questions I have

and I know those questions
possibly match

the questions that
my audience has.

Here's the next piece
of the puzzle, man.

We were talking about
the outside noise

before we took a break.

Like, "Oh, I hear it. I see it."

What project, what were you on,
what were you doing

when you felt the most
like, "Oh, shit.

Here's some heat
from the outside noise.

It's starting to bother me."

-Yeah, that's Madea.
That's Madea from day one.

-Okay.
-From day one.

My whole my whole point
in Madea,

I saw Eddie do "The Klumps" and
I go, I'm gonna try my hand

at a female character, man.

Walked out on stage at
Chicago Regal Theater,

seven nights at Stony Island.

First time, had the costume on,
walked out there,

because I had a celebrity
that didn't show up

who was supposed to be
the lead of the show.

You know how you get the

"starring so-and-so
from 'Good Times'".

You know,
one of those in your show.

But this wasn't
any of those people.

But this was an R&B singer
we had hit on the radio,

and she didn't show up.

So I end up having
to go out as Madea,

and be out on stage longer
than I thought I would.

And I was scared shitless.
Man, I'm telling you.

David Mann and Tamela Mann,
who plays Brown and Cora,

they'll tell you,
I was scared to death,

and I'm out there
and I'm doing it.

Then I move around and
people are laughing.

It's like, oh.

So I started to lean into it
to see what would happen.

And the more I leaned into,
the more they loved it.

Alright, cut to me realizing
this is not just...

I went to the next play,
the audience was like,

"Where's Madea? Where's Madea?
We wanna see Madea."

Cut to understanding that
I was on to something early on.

I thought, okay, this is great.
It's selling out the shows.

I didn't know it was
a multibillion dollar franchise.

-It's the brand.
-Yeah. Within itself.

-Madea's a brand.
-Yeah.

-But to have people go,
and you know,

have people picketing
outside of the theaters,

this white evangelical

saying I'm a transsexual
who's going to hell,

because God does not like --

Martin gave a dress.
Eddie gave a dress.

But you're going to hell.

Having people
coming up and saying,

"What's wrong with you?
Why you still in a dress?

You are emasculating
black men."

Just hearing all of that,

that was the one that
made me go, "Hmm."

-This is after the shows?
This is during the shows?

The height?

-From the beginning on up.

And the higher I went,
the worse it got.

But I had to, again,

keep my eyes on the prize
in understanding that

why would I walk away
from something

that has given so much joy
to so many people, number one?

But number two,
the best part about Madea --

if you watch any play,
like, the last 20 or 30 minutes,

I could sit in a chair
like this.

She ain't doing
a whole bunch of stuff.

But I'm spitting wisdom to us

that we have
not even dealt with.

-There's a message.
-Absolutely.

-Madea's never not
had a message.

-Powerful words that I love.

So what I realized
is that those voices,

that noise is trying
to talk me out of something

that is helping a lot of people,
number one.

And secondly, trying to
talk me out of something

that was the foundation
for everything else I built.

So why would I do that when
I know this is working?

It's working.
People are being moved.

They've been inspired by it.
And again,

if there hadn't been that,
I wouldn't be sitting here

talking to you about the studio
and all the other stuff.

-It's very hard for me
to understand how people

compromise or try
and contradict the work

that somebody put into a craft,

an entity, an IP and brand
that's working.

-Yeah.
-I don't --

I don't get that.
That's tough for me.

-And I understand exactly
what you're saying.

But I tell you, I've gotten
to a point in life where I go,

"Okay,
you don't have to get it."

Listen, you think 40 is great.

Wait till you hit
about 50, man.

You just get to
a whole place of just, "Eh.

You don't matter."

Other people,
when it comes to that stuff.

But what is important about that
is, again, what is your purpose?

What is your intention?
What are you looking at?

My intention in life,
from the time I wake up

in the morning to
the time I go to bed,

how can I do something good?

How can I help someone?
What is this all about?

Because what I know
about Madea,

everything that I've done,
all of that is seed planning,

fertilizer for my whole life,
for all those years.

And I'm seeing the other side
of what I planed then,

because of what
I was doing there.

If I was a person
who was doing something awful,

horrible, terrible to people,

I personally
couldn't live with myself,

and I don't believe that I would
have this level of success

because of
the kind of person I am.

If I was a horrible ass person

and I lived my life horribly
and had success,

that's a horrible person
who had success.

But I live my life
with the intention of good.

So when good comes back to me
and for me, I expect it,

and I'm grateful for it, right?

Because I go, okay,
oh, I put that out

and now it's coming back.

Like you saying
being at the play

all those years ago,
and your mother there.

That's something good
coming back to me

that I can hold on to,
you know what I mean?

-We got to stop.
We got to pay bills, guys.

We got more "Hart to Heart"
when we get back after this.

**

**

-Well, I hope you didn't lose
the steam, because I didn't.

It's "Hart to Heart,"
and we're back.

And I'm still talking
to Tyler Perry.

I've seen you take trips.
You go to these places.

You off the
fucking face of this Earth.

I was on social media.
I follow you.

You had a picture of like,

there was a moose
outside your room.

-That's Wyoming.
-Wyoming.

-Well, for black people, that's
off the face of the Earth.

-You're like, "Oh, look at this.
A moose is there."

But you're like, "I'm writing.
I'm in a think tank."

For you to go on your
creative binges, these benders,

you separate yourself.

What do you do?
-Just like I'm on crack.

-Yeah. What do you do?
Like for you, because you go,

you come back with ideas,
IPs, whatever.

Like, is there a period of time
that you take out of the year

or a certain amount
where you go,

"I'm going to distance myself

and this time is taken
to do said things."

-I have an island in the Bahamas

that I bought
for my 40th birthday,

and I have a house in Wyoming.

And those places,
you can't go anywhere.

In the Bahamas, if the guy

who has the island
probably a mile away

turns off his cellular tower,
you don't have cell service.

So it's perfect.

So I sit there
for two weeks, two weeks,

I come up with 22 episodes,

write them,
send them to Atlanta.

Okay, there's "Sisters."

I'll take a week, do nothing,
get drunk, hang out.

Go to Wyoming. Two weeks.
Sit there, 22 episodes.

Okay, guys, there's "Oval."
Send them all back.

So when I get back, I've got
120-130 episodes written.

I'm like, okay,
now we're gonna direct them,

because I can't do them both
at the same time.

So I have to write them,
make them happen

you know,
make sure the scripts are right

and make sure
the audience will love them.

And listen, we're killing. These
shows are killing on BET.

-Mm-hmm.
-Killing.

Do that,
and then on to the next thing.

-How do you figure out the team?
What's that system?

-Honestly, they're only
about five or six people

at the top of my team
who handle it.

I put it in that person's hands,

then they put it in
somebody else's hands,

then somebody else's hands,
and they all have it ready.

So when I show up,
they're ready to go.

We'll do casting over --

They'll send me
pictures and auditions.

I'll take a look at them.

And when I come to work,
they know everything's in line.

So it's about
five or six people,

and they handle everything.

-Is it set up for you
to take a step back, in a way?

-Where I am right now at 52 is,
I'm looking at the exit, right?

Which is, in order to exit
a company that I built like this

is going to take
about 10 to 15 years,

because at last check,
there was about 3,500 cars

coming through the gate a day.
-Wow.

That's jobs.
-Jobs, yeah.

So I have to be
in a position of, okay,

you got 10, 15 years
here, buddy.

What are you doing
to make that happen,

so you can walk away,
own it, oversee it.

So I've just started putting
some great people in place.

I'm pulling them
from everywhere.

Like, you got a couple
of people around here

I'm looking at pulling.

-I'm sorry.
-Did I say --

That was
the quiet part out loud.

-You did say it out loud.
You definitely let me hear it.

-That was the quiet part
out loud.

So no, I'm starting
to put those people.

-You're stealing people,
is what you're saying, Tyler.

-Starting to put the right
people in the right positions.

-Sound like you stealing
motherfuckers from people's --

-So that they can --
-I tell you what!

Let a motherfucker
look Tyler in the eye!

You look Tyler
in the eye, you're done!

No eye contact
with Tyler before he leaves!

As a matter of fact,
when Tyler walks out,

I want everybody
in this corner over here.

Jesus Christ.

-So that's what I'm
working on right now.

-Is there an age --
is there a --

I mean, dude, I'm asking

not just because of like --
-I'm old.

-No, actually, 52. I thought
you were a little older.

52, you're young.
But I'm asking --

-Why'd you think I was
a little older?

-You've been doing it
for a long time.

I associate with my mom.
-Okay, okay.

-So you've been doing it
for a long fucking time.

But I'm like,

you have
a punctuation already set?

You're saying 52.
So it could have been 55.

Yeah, it could be 60.
-Yeah.

-At age 60, I want to...

My fear is,
I don't want to set a date

too late and I'm hunched.

Or I'm at the party
and you got to explain

to me what's going on,
I don't want that.

-Oh, you know him, too?
-Yeah. Yeah.

-I don't want you to have that.

"Kevin, look this way. They want
to tell you what you did."

-You know. You know.
-"Who they?"

-Don't mention his name.
-I don't want to do that.

I don't want you
to do that to me.

-Yeah. No.
-I don't want you to wake me up

at my celebration,

where you go, "Kevin,
we celebrating you today."

-"Kevin, Kevin. Get up."

-"Tell them I said I want --"

-They called you, man.
-They want me to go up there?

-No, no, no, no, no, no,
no, no, no, no.

-Diane?

Diana Ross was the best
to ever do it.

-No, your grandchildren did.

Your grandchildren.
They took it for you. You okay.

-I don't want that.
-Yeah.

So I have a point

that I know is going to act
as my punctuation,

where I'm going to be done.

-Well, wherever that is,

you need to start 10, 15 years
before you think it is.

So that's where I am now.

What does the exit look like?
How does that happen?

And listen, I don't know.
My son's 7 years old.

I don't know what he's going to
want to do at 25, 30.

Maybe he'll want to drive Uber.

If that's what you want to do,
great. Be good at it.

If you don't want this, great.

I'll make all this shit
go public,

and it will be done.
-It'll be done.

But I'm actually looking for,
what does that look like

on the other side of this?

'Cause it's a lot, man.
It's draining.

It's a lot to be
in this position,

to be under this microscope,
to see your family suffer,

everybody suffer,
you know what I'm saying?

Of course you know
what I'm saying.

-I know exactly what
you're fucking saying.

-At some point you go,
okay, where's the exit?

-Well, I think the biggest
piece of pressure

comes from like...
-You. Yourself.

-You're putting your pressure

on not only what you're doing,
but it starts to go,

"Do you guys understand
what I'm trying to do?"

-Let me tell you the difference
for me, though.

I look at all of the people
who could have done it,

who had the opportunity
to do it, who didn't.

-Mm-hmm.

-And I look at, I think
about my Aunt May,

Uncle Alf, is what we
called him, her husband,

and Papa Rod, who was the bed.

This man was a slave.

I remember being a little kid,
seeing him in the bed.

He was a former slave.
I think about all of them.

And I go, "This fell on me."

-Yeah.
-All of it.

So, number one, I got to
honor it and see it through.

I got to see it all the way
through to the end.

Exhausted. Tired. Frustrated.

Got enough money to say,
bye, peace, I'm out.

Y'all figure it out.

But what happens
with all of those people

who have those dreams and those
visions and those hopes

and they were tied into mine?

Everybody's destiny is tied
into someone's destiny.

So if you're not doing
what you're supposed to,

what's happening to them?
-Yeah.

-I don't want to get
to the end of my life and say,

"Damn, I wish I had done that,

because this many people
would have been helped,

or that many people
would have been helped."

And I know that sounds
really like, whatever,

but it's honest to God,
it's truly how I feel.

-You don't want to quit on them.
-Yeah. Yeah.

-You don't want to quit on
the plan that's not done.

-Yeah.
-That's not complete.

-By the way, that's a hell
of a fucking burden, though.

-It is, but I want
to leave like Cicely Tyson, man.

And the only reason
I say this is because

she said this in her book --

I took care of her for the last
15 years of her life.

Nobody knew that.

She came to work on "Why
Did I Get Married?" one day.

I just wrote her in, paid her
a million dollars for one day.

She made $6,000 on "Sounder."

Imagine, that's
what they paid her,

and to be that age
and into your nineties

and still having to work.

The last 15 years of her life,

I was able to make it
some of her best.

She would tell me
that all the time.

But I say that too,
that's the way I want to leave.

Like I was on her, "Cicely,
you got to write this book.

Oh, you got to write this book."

Because she would
tell me stories, random shit.

She's like, "Yeah,
Elizabeth Taylor, you know.

Yeah, I had to sue her
because she did such and such."

What are you doing?

"Yeah, me and Miles
were talking --"

Miles..? You were married
to Miles Davis.

Why aren't you
writing this down?

She finally writes the book.

She goes out
to promote the book.

We have a conversation
that night.

She's like, "Yeah, I'm tired.
I'm gonna go home."

Goes home, lays down, and dies.

That's how you want to leave.

96. You've done it all.

"I'm out, y'all."

No pain, no suffering,
in her right mind.

Sharp as a whip
all the way to the end.

So that's what I'm looking for.

Where is that, you know?

How do you get to that

and look at all of the doors
that you open behind you?

-I think you're
well on your way.

Let's take a break.

We'll be back
with more "Hart to Heart."

It's going to get
a little deeper before we go.

**

-D.L. Hughley.
-No. Oh, Jesus.

-Thank you, D.L.
I appreciate it.

-It's not --
We're not coming from --

There's no other show.

-I appreciate it. Okay.
I thought it was --

-Guys, this is "Hart to Heart,"
and we're back.

-Yeah.

-I don't want to wrap it up.

I don't want to wrap it up,
but all good things

come to an end, and
before this comes to an end --

Marvel...
-Uses.

-Marvel uses Tyler Perry Studio.

The biggest bankable
fucking bet in entertainment.

When it comes to Marvel,
when it comes to DC,

comes to this world
of characters

and fucking crazy fan base
that never leaves,

that's going to make money
no matter what,

they go through you,

the guy who they say,

"Oh, man, I don't know.
Why are you doing this?"

-Yeah, yeah, yeah, yeah.
-"Come on, man."

-Somebody came through the gate,

one of the producers
on some show,

he saw "Tyler Perry Studios."

He goes through the gates,
he sees the stages.

He goes, "Wait, the Madea dude?"

-The Madea dude.
-Yeah.

I'm like, "Hellur.
Hellur. Come on in."

[ Both laugh ]

"Y'all want some lemonade
or something?"

Shit, yeah.

That's right. Come on.

[ Both laugh ]
That's right.

-I say that to say, man,
there is a gift in every curse.

-Yeah.

-You're a man of
the fucking people.

And you're a really,
really important part of change.

And I truly do hope
that the abundance of flowers

that should be thrown at you
will be thrown

when you can fucking
really register and see it.

-I appreciate that.

-Because when you say
things like,

"No, I hear it.
I hear the murmurs.

I hear things, whatever."

I want you here

because I want to give you
my version

of fucking, you doing it.
-Thanks.

-I shouldn't have to say that.

because it comes
within the proof.

The proof is present
of what you're doing.

But more importantly.

I'm not able to be
the businessman that I am

if you didn't do what you did.
-I appreciate that, man.

Thank you.

-If you didn't break the ground,
open up the doors,

create the conversations,
I can't follow suit.

I don't have a blueprint.

That blueprint was set by you,

and your fucking blueprint,
well, it's become massive.

I don't have
Tyler Perry Studios.

-Yeah.
-But I went and got

some stages based off of you.

-That's awesome.
-And your fucking studio.

-That's awesome.
-I had no idea.

I had no idea that people

would come and fucking
rent spaces from you.

That you could own
and do a project for them,

but then get paid,
and I had no idea.

Tyler,

you have laid out the
business fucking blueprint

to people that want to
be in the business.

-I appreciate that, man.

And that's what I wanted to do,

because I'm tired of people
talking about #OscarsSoWhite.

I'm tired of people talking
about, "We need diversity.

We need more jobs. We need --"
I'm tired of that, man.

It's just like, y'all go ahead
and do that and I appreciate it.

If want me to stand
with you, I'm there.

But the truth is,
when more of us start to do

what I've done,
what you're doing,

what Jay's doing, stand up
and take the position of,

how do we build it so that

we don't have to be
in those positions?

That's when the change
that lasts forever,

because what'll happen is there
will be tremendous guilt.

And I've seen this many times --
George Floyd's death

and we need diversity and we
need this and we need that,

and then there's this uprising
of the anger behind that.

Like, you know,
I read an article today

about white people losing jobs
to minorities and women

and black people
in the business,

and all of these things
in the business

that are saying,
you have to do this,

you have to do that,
you have to do that.

You have to have
this many minorities

in order for your movie
to be qualified.

As I've read all of that stuff,
I know it's going to cause

a lot of resentment.

When the pendulum
swings this way,

it swings back
the other way hard.

And when it comes back
the other way,

I worry about what
would happen for us, right?

But if more of us
are in positions of ownership

and control and business,

then we can effect
long-lasting change.

-I'm not even going to try to
repunctuate an amazing sentence,

but I promise you,
you, Oprah, Hov, B,

Lee Daniels, Shonda Rhimes,

Lena Waithe,

Ava, Kenya Barris.

There's so many
of us that are creating,

that are trying, some own,
some don't, whatever.

But there's a ballpark
of commitment,

of people that are trying.

-Yeah.
-Right?

And some are cracking
a code correctly and

some are figuring it out, right?

Some are trying
their best to figure it out.

But you don't get to a place
of even understanding

that you can without
the examples of who did.

So, if nothing else,

from this episode
of "Hart to Heart,"

I want you to take away,
well, Tyler's a person that did.

He's a person is going
to continue to do,

and the trajectory
of what can happen afterwards

is so fucking promising, because
he's already broke the barrier.

Dude, I'm a fan. I'm a friend.

But more importantly,
I'm a student.

Continue to be
a fucking mentor, man.

Continue to be a mentor.
Don't stop, man.

Fucking Atlanta
is really black Hollywood.

-I want the same for you, man.

-Yes, sir.
-Same for you. Don't stop.

-Yes, sir. Well, I owe you.

The ball's in your court now.

So I don't know
what you're gonna ask.

I don't know what you want.
-Okay.

-But handshake on this.

-Right now, I want you
not to stop.

Don't stop.
-Okay.

-Have you been COVID tested?
-No.

That's what I wanted
to talk to you about.

This set ain't safe.
-Okay, guys.

-Yeah.
I've been doing this different.

-Okay.
-Alright?

We different around here.

-Okay, got it.
-Guys, let's wrap it up.

-Can I get a mask, guys?
I'm gonna need a mask.

[ Laughing ]

-All jokes aside, guys,
it's "Hart to Heart."

This is fucking Tyler Perry.
One time, guys. Come on.

[ Applause ]
Tyler fucking Perry, man.

-That's awesome.

**

-Kevin Hart here
with another life antidote.

Life can throw you a U-turn.
U-turns are unexpected.

Sometimes U-turns
are for the best.

I'm talking about bunions.

Your shit flipped the other way.

Stop wearing shoes.

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