| Filmmaker Stacy Peralta has made a career | | | | think our government would treat this problem the |
| documenting American subcultures that he knows first | | | | same way if it were affluent, middle class white |
| hand: the 2001 skateboarding film, "Dogtown and Z | | | | American teenagers killing each other. Yet in the |
| Boys" (Peralta was a member of the legendary Z | | | | African American communities it's been going on for |
| Boys team) and the 2004 surf documentary, "Riding | | | | four decades. Teenagers are killing each other and not |
| Giants." With his latest film, Crips and Bloods: Made In | | | | over oil rights. The Crips and Bloods brands are being |
| America, the Los Angeles native takes on South | | | | started in other countries. They want a piece of that |
| Central's gang epidemic -- an issue he had always | | | | identity. |
| been closely aware of but never realized the depths | | | | Q: You’ve said this film has been fifteen years in |
| of. | | | | the making. What obstacles did you come across? |
| "I knew a certain amount of the problem all my life. My | | | | A: Hollywood has shown a comfort level exploiting this |
| high school in Santa Monica was closed down for a | | | | problem, but has shown no interest in showing the |
| while because of gang violence. But I never really | | | | problem. And many in Hollywood consider themselves |
| understood the level of the problem," says Peralta. "I | | | | liberal. The popularity did go out with gangster rap |
| wanted to see if there was a human face behind this." | | | | music. Studios said "no." |
| With his trademark bombastic and compelling style, | | | | Q: While shooting the film did you find yourself in |
| Peralta's film is narrated by Forest Whittaker and looks | | | | dangerous situations? |
| at the inception of gangs in LA starting in the 1950s, to | | | | A: All the time. I was constantly thinking I made a huge |
| the ongoing present and future crisis. Tonic recently | | | | mistake. I would get really upset and twisted. Then I |
| talked to Peralta about his motivations for making the | | | | would meet a kid and he would tell me his story. I |
| film, which was released earlier this year. | | | | would think: People need to hear what's going on. |
| Q: How did you gain access and trust among the gang | | | | That's what kept me going. And a few weeks would |
| members who you interviewed? | | | | go by and the same thing would happen. |
| A: It was one person leading to another person. | | | | Q: What advice do you have for young filmmakers? |
| Wherever we went we were escorted in. Never did | | | | A: Don't think too much about obstacles. Just start. |
| we just show up somewhere. I come from a | | | | You don’t have to have confidence, just desire to |
| subculture, which is a lot about paying respect. I knew | | | | do it. If you can get out of bed you can do it. The most |
| that you have to treat people with dignity and pay | | | | important thing is the energy to do it. |
| respect to people in charge. | | | | Q: How can people get involved to help? |
| Q: What inspired you to make this film? | | | | A: People can be mentors to youths in their |
| A: I've never seen gang members portrayed as | | | | communities. We have a list of organizations at the |
| human beings. And they are human beings who are | | | | end of the film that people can get in touch with to |
| caught in a vicious cycle. It's a social problem. I don't | | | | learn more and be involved. |