A: Yeah, but super Fly isn't one of those. He has a father and a lover, for example.

Q: I agree as did Riley to some extent Now, if Super Flogets outside the macho ethic in the course of the film, what do you see as his eventual end?

A: He'd have to leave the country, Or else he'd return and be forced back into some hustle or another.

Q: Then do you agree with Eddie's statement, that hustles like the coke trade are the only way for some bright blocks to get ahead?

A: I would agree...if you are in that certain situation it can seem that way, because it is almost "the truth." There are exceptions, I think he could be a moyie star.

Q: Do you enjoy the life?

A: I've only had it for three days.

Q: But you were in theater beforehand.

A: People don't listen to theater anymore. New York theater taught me one thing: it's hard but it's fair. There are no holds learned, no rules. You've got to be good on your own.

Black producers are the same as white producers. Everyone has his reasons.

Q: At what level did you get involved with super Fly?

A: The ground floor. The role was written for me by Philip Fenty, a friend of mine from Cleveland. After I did The Organization, he was cine president of Creative. Advertising, very Madison Avenue, and decided he wanted to do films..He thought I was saleable, and I encouraged him. He finally wrote a script, with my assistance, then he went out and found a producer, Sig Shore. I never believed for an instant we were going to do this film. But then we auditioned actors, and selected Gordon Parks, Jr., as director