>> "Workin' It Out," a podcast show about diversity, equity, and inclusion in our workplaces, our communities, and our lives.

A show where we put diversity and inclusion to work.

>> ♪ Got problems on the job?

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♪ ♪ We're workin' it out ♪ >> ♪ With Dr. Weaver ♪ >> ♪ Yeah, we're workin' it out ♪ ♪ Workin' it out, workin' it out ♪ >> ♪ With Dr. Weaver ♪ >> Hi.

I'm Dr. Vanessa Weaver, your host of "Workin' It Out."

Thank you for joining me today.

Recently, there has been a push to support producers, independent producers, such as black producers, Latino producers, agent producers, in telling their own story.

And not only has there been a recent push for these producers, but it's been successful.

For example, Procter & Gamble has an initiative called Widen the Screen, where they're supporting the storyteller of these producers that are black, Latino, Asian, and women.

And guess what?

We're going to see those stories.

But with the recent anti-woke, anti-diversity, anti-affirmative action, there's a concern that this negative movement, that this negative push would erode the success that we've achieved in having these independent producers tell their story.

And we know that, historically, we've had white producers who've told black stories, you've told Asian stories, you've told Latino stories.

Not that that's completely wrong in and of itself, but we feel that there's -- we've demonstrated, that there's a different perspective, a valuable perspective, in the stories being told by producers of their own community.

So today we're going to explore that.

We're going to explore what is the value of having black stories produced and told by black producers.

And we're gonna do that by having this incredible couple, Chuck and Bree West to join us today.

They started Octet Productions, an independent black-owned production company.

And they've been telling black stories that reflect the black family, as well as our black community.

So I'm going to welcome Bree and Chuck West to "Workin' It Out."

>> Thank you for having us.

>> Thank you.

>> We're so glad to be here.

>> I'm so excited.

I mean, you all are the new hot power couple, and you're doing so many interesting things I know that you founded your company, Octet Productions, in 2015.

But in a really short period of time, I mean, an amazingly short period of time, you produced a series of shows or TV film called the Wesley family series, that has aired on BET.

How many years now, in a row?

Three?

>> It's gonna be third.

We're on our third year now, so we're going soon to film our third project, our third film.

>> And I think you're going to fill that in South Africa.

Am I correct?

>> Yes, Johannesburg and Durban.

>> Oh, that's amazing.

You know, my second job, I carry bags.

[ Laughter ] >> That's my first job.

>> That's your first job.

Also you were the original producers of "Hush."

I think, Bree, you call this a salacious series... >> Yes.

>> ...that's filming on ALLBLK.

And in fact, Bree, I think you were just nominated last year for the NAACP Image Award for writing.

>> I was, for "Wesley Christmas."

"A Wesley Christmas," the first installation.

Yes.

>> Well, congratulations.

And I must say, Chuck, who I've known for many years now, is really the money man for Octet Productions.

[ Laughter ] He's the one that does all the negotiations, makes sure that the money is in and that everything is flowing right.

So, Chuck, and also you're a showrunner and a producer.

So you all are really a very dynamic and complementary couple.

So, let me ask you, how did you get into this business?

Because it's not a business that many of us are in.

What's your story?

>> Well, for me, I started 30-plus years ago in the theatrical world.

I started touring stage plays across the country.

So when I met Bree in 2013, we just started to create a company together.

And we started with stage plays and transformed stage plays into film and television series.

>> Yeah.

My experience was, I was representing a lot of talent in the sports world, and I had the opportunity to work with Wanda Durant, Kevin Durant's mother.

And when he won the MVP that year, he gave this infamous speech and said, "Mom, you're the real MVP."

>> I remember that.

>> It went viral.

Everyone was like, "You're the real MVP," "You're the real MVP."

[ Clears throat ] Excuse me.

Wanda said, "I really want to tell my story, Bree.

How can we get the story out there?"

So, Chuck and I kinda looked at the relationships we had in Hollywood.

And that was our first project, film project, that we worked on together from inception.

And we were -- I was a co-executive producer, Chuck was a co-producer of the project.

And we worked with Flavor Unit, which was Queen Latifah and Shakim Compere, as a production company.

And it was great, starting off.

We got the script together, we hired the writer, we approved, we had script control, so we were happy about that.

But then when I went time to actually go into film production, we didn't hear anything.

And so the next time we were involved in anything was when they called us to do press to promote this project.

And when we saw the project, I was pretty devastated, not because it wasn't a great project -- the acting was amazing -- but the locations, it was supposed to be based in Prince George's County.

And we're both from Prince George's County.

And nothing about that set, about the geographical topography, nothing reflected Prince George's County.

And it probably wouldn't, because it was filmed in Canada.

And at that point, I said, "Chuck, how is it that we can make sure we tell authentic stories?

How can we make sure the integrity is right?"

And what did you say?

>> When she looked at me, she was almost in tears.

And when she asked me the question, I told her -- I said, "We need to do it ourselves."

And that's what we started doing.

>> And that's how we formed Octet.

And of course, Octet is O-C-T, the Latin prefix of 8, which is a reflection of our eight children and are beautifully blended family.

He brought four boys to the marriage.

I brought four girls.

So Octet, the number 8, turned on its side, is the infinity sign.

And that's why our logo is the infinity sign.

Not only is it about our love for our family, but God's love for us and our commitment to our people.

So that's how we came up with Octet.

>> Well, you all have skipped over a whole lot of information from meeting in 2015 -- meeting in 2013 -- to having eight kids in 2015.

>> Right.

>> So we got to go back and figure out what happened in these two years.

I mean, to bring in eight kids.

But we'll get to that towards the end of my show today.

I know that you-all are so committed to the authenticity and the correctness of that film and other films.

So what is your mission for Octet?

>> I think our mission is to tell our stories.

Because whether we want to acknowledge it or not, our archeological history or our stories, in the future, when people want to see how black people lived in 2020, they're going to look at movies, they're gonna look at television.

They're going to look at reflections of what is present, to look back at what black people or how black people lived back then.

Just like we do a lot of times.

And so with that, when we're the producers, we're able to ensure accuracy and honesty and also levels of pride that may not be gleaned from other races, just because it's our story.

It's our stories.

And they're diverse and rich, and they're valuable.

And they're beautiful.

And for us, it's just important to make sure we leave a legacy of diverse stories that reflect us, as a people, accurately.

>> So, for us, we're at a place right now, and have been for a while, where we can choose our projects.

So we are very particular about choosing projects that we produce that show our people in a good light.

>> And even when it's a little salacious or a little janky, it still shows us as upwardly mobile people and people who are flawed, may be flawed, but still authentically us.

We're not looking like a raceless group of people.

We have our little spice on it.

>> I know that Octet has a commitment to telling stories across the diaspora.

And in fact, you actually know that you're going to film the Wesley Christmas family movie in South Africa.

So, why that commitment?

I mean, isn't it enough to show the variety of stories of blacks in America?

I mean, that's a pretty big territory.

Why did the diaspora?

>> You wanna go?

Okay.

I think that we've been so isolated, as a people, for so many generations, and I think we've been socialized to be in our own blackness, whether it's the United States and African-Americans, black people in the country or West Indians or even African, South Africans, West African, East Africans.

We all are kind of -- Everyone is -- All over the country, all over the world, when you think about how many places we are and how separated we are, what is the most innocuous way to bring us together?

And I think it's entertainment.

Because entertainment is innocuous.

It's not political.

It could be, but it's very fun and lighthearted.

But also those subliminal messages are real.

And in order for us to unify as a diaspora, it's very important for us to reach out.

And we felt like, as Octet, we could be some of the pioneers jumping out there and really developing an authentic relationship.

It's not just a one-off, but is really merging our cultures and giving us all the opportunity to see different members of our diaspora and how they live and what they're doing, because they're power.

There's power in numbers, there's strength in numbers.

>> Well, I'm fascinated by that because, as you know, on Netflix and some of the streaming channels, they do have movies that are produced by Africans on the continent.

And it's interesting, as I look at some of the storylines, they're not markedly different than the storylines here about richness and being spoiled and having all of the luxuries and all of that.

So I'm not always sure that we get those authentic storylines.

You know what I'm saying?

It seems like many of the stories, to me, feel very commercial and very -- to be expected.

And so what is it about your commitment to telling those stories in a diaspora that might be different than what's being shown now?

>> Before us -- Well, what's being shown now is just basically African production about Africa, American productions about America.

What we're doing is merging the two cultures.

So our project is going to intertwine African family with the Wesley family.

>> Oh, I see.

>> The difference is, we're not keeping it -- we're not keeping the -- both entities separate.

We're bringing it together.

>> I see.

>> Yes, and it's kind of -- it's gonna be exciting because not only are we bringing the talent together and bringing South African crew and African-American crew, but we're merging everybody together, we're bringing -- Well, I already said our crew.

Let me -- Let me restate that.

>> Sure.

>> Aside from just bringing the talent from America and blending and merging them with the talent from South Africa, we're also bringing some of our department heads from America to come over and work and film in South Africa with a South African crew.

So it's going to be a very, very significant mixture of both South African and African talent from every level of the equation.

So we're excited about that.

>> So, you're in front and behind the camera.

>> Absolutely.

>> You're controlling.

Because I just recall, when Chuck said, you know, "We're at a point where you can choose."

>> Yeah, that's a luxury.

>> That's pretty significant When I heard that, it's like, "Oh, you're really running it.

I mean, you are making those core decisions, the important decisions about how all of this stuff operates."

>> 100%.

>> Absolutely.

>> Well, how were you able to get there so quickly?

You got together in 2015, you had eight children.

We're gonna talk about that in a minute.

And then you launched these series of films on BET and "Hush."

And ow, I mean, how were you able to be so successful so quickly in this competitive industry that doesn't always welcome people that are black complexion?

>> It's always interesting when you say that, because we were just talking about this last night.

Like, people are like, "Oh, my gosh, you've done so well.

You're doing great things."

And we're looking like, "We have so much to do."

Like, there's just still so much to do, so it's hard to really think about it as we've done -- we've created such success.

I think Chuck and I just are very clear about what our mission is and we're very spiritual.

We know that we're trusting God to direct our path.

You know, it's one of those things where maybe it's holy boldness, we just step out.

"Okay, well, we need to do this.

And I think next year, we need to do this.

And I think we need to do this.

And how about this?"

And the thing that's so cool is, like, we're partners and we're both like, "Go, go, go, go, go."

Neither one of us really have too much brakes in us.

So we just keep going, because we feel like there's so much still to do.

>> And we walk by faith.

We make our decisions by faith.

And we know that everything that we do is a blessing.

>> Yeah.

>> Wow.

That's amazing.

And so when you think about walking by faith, how does it -- how did that help you navigate some of the big challenges that you encountered, trying to form this business?

In fact, share with us a couple of those big challenges that you had to overcome.

>> Well, let's let him start that one.

The first one is in his lane.

>> Well, for us, one of the biggest challenges, when we first got started with Octet, was raising money.

>> That part, that part.

>> And we asked a whole lot of people to bring money to the table to help us finance this first project.

And most of our answers were, "You go ahead and get it done, and then we'll come and take a look at it."

So we were looking at each other like, "How are we gonna get this done?"

And again, prayed about it.

We start asking friends and family, and then we start raising the money ourselves, and we put all the money that we had into it.

And we started invested in Octet and it was a hit.

>> Yeah, it was it was a hit.

And we're grateful because at the end of the day, we were able to kind of leverage some of the skills that we had in our other lives and take them in and speak with knowledge because we understood the importance of doing the due diligence and the research and making sure that if we don't know what we're doing in certain respects, we have the resources in place and the people willing to support what we're trying to do.

So that we make sure that our next step is always our best step.

>> So, you had the challenge of raising money.

And it's interesting, because in this, particularly after the George Floyd incident, there was such an overwhelming outcry for us to have black movies and TV shows and programs that reflected the life, the lived experience of black people and, for that point, other groups, like Asians and Latinos, but particularly blacks.

And so the perception was that there was a lot of money being thrown out there to really support that.

And based on what you're saying, that's not necessarily -- that wasn't necessarily the case.

>> Well, that was before.

George Floyd was after we had started, and by the time that had happened, we were on our way.

So, after the first project, we knew how to make it pretty.

We didn't exactly know how to make it entertaining.

You know, we relied on a script from a colleague of ours, who said, "Oh, this is what the networks are looking for."

And so we tweaked it a little bit to make it at least palatable so we could shoot it comfortably.

But then it was kind of very flat, in terms of the way that the story read.

It wasn't -- There was no -- nothing juicy, nothing spicy.

Just really kinda like, "Wah wah."

But it looks very good.

And it was enough for BET to see it and appreciate our style of producing and filming.

And they really believed in us and, shoot, they gave us one project.

And the first project, we did as a co-production deal.

And then after that, they came on set while we were shooting that first project and immediately gave us a second project that we shot a few months later.

And it's kinda been off to the races after that because when you do good work and you're passionate about your work and it reflects, people like it.

An our movies do very, very well.

People seem to respond very well to it.

And we're grateful for it because from our perspective, it's something that we really love doing, we're very passionate about.

And if we already lock you in with entertainment, then we could maybe throw some education in, too.

Like, for example, this Wesley Christmas project that we're shooting in South Africa, we're talking about apartheid, we're talking about civil rights.

We're talking about similarities that as a race, and as a diaspora, we've all encountered, maybe in different times and different settings, but at the end of the day, the obstacles we've encountered, as a diaspora, by and large, are very similar.

And so that's why we think it's gonna be the natural course of progression to go straight into something like this so that we can make it fun and engaging, but still teach while we can, since so many people in this world are trying to stop us from learning about our obstacles that we've had to endure and encounter as black people, and removing diversity and inclusion from very critical spaces where it's necessary and still so necessary.

And racism is just as prevalent as it's ever been.

>> I was going to ask you, are you -- have you been impacted by some of this anti-affirmative action, anti-diversity, anti-woke sentiment that's really growing and blossoming?

Have you all had to deal with that?

>> I don't know that we have directly, because we've been working with BET, and since it's -- and ALLBLK network.

And we've also worked with TV One.

But those are black-centered projects to the core.

But what we are noticing is that funding for projects has shifted, just the climate of what's going on.

And unfortunately, when finances -- these companies, these networks are part of bigger entities, bigger studios, and when finances become tight, these networks have to pull the reins in a little bit.

And so sometimes we're starting to see where the impact is trickling down to the independent producers.

>> Well, I promised our audience we were going to -- you're going to help us figure out how you met in 2013 and started Octet in 2015.

And between that time and now, you had eight kids.

>> [ Laughs ] We had 8 kids.

>> And you're still married.

And you seem very happily married.

I know, every time I'm around you, you're still beaming like newlyweds.

So let me ask you, because you're working together and I know you all do different and related things, but how do you balance -- how do you deal with the power dynamic between the two of you?

>> I always win.

>> You always win?

>> I just let her win.

>> No, that's not true.

Not true at all.

We have different lanes.

>> We are very clear what our strong points are and what our shortcomings are.

She is dynamic when it comes to creative side of the company -- anything that has to do with the creative.

And like you said earlier, I'm a logistics, numbers guy, budgets, and make sure we stay on point as far as the finances.

So we try to stay in each one of our lanes, although she always try to maneuver her way over into my lane.

I just got to push her back over every now and then.

>> Like a slight nudge.

>> But outside of that -- And that's how we make it work, because we know that, "Okay, well, when it comes to creative, call Bree, talk to Bree."

They'll come to me and ask me questions about creative.

I'm like, "Not getting me in trouble with that."

>> We kind of know what lanes they are, and you know, even when I get into it and start weaving into his lane, it's like, "Okay, I know I'm kinda treading on thin ice, so I probably need to get off the ice."

But the thing is, it's like, both of us knowing how passionate we are, we really don't -- we don't really argue at all.

Like, we may go back and forth in terms of sharing our position on something.

But the reality is, ultimately, we have the same goal, which is the success of the company and the success of our projects.

>> Most of the time, she's asking me for more money to get more of [Chuckles] -- more creative in a project.

>> Well, I know our time is closing, but I know we started this talking about the importance of black producers or any same-race producer producing stories, their own stories about their experience.

And what would be -- If you had to give a point of advice, a piece of advice, to someone interested in going into this arena, what would you tell them?

>> Never let anybody tell you that you can't do what you really want to do, and just push forward.

>> Yeah.

I think, from my perspective, take time to really learn what you're trying to do, so that you understand, you don't just walk into it blindly.

Sometimes, I think, because it's entertainment, and a lot of times people who aren't familiar with the business, they see actors onstage or on camera or on the television, and they're like, "I wanna do that, I wanna do that."

Well, it's got to be more.

Follow that up with getting the training.

Follow that up with doing the research and being prepared.

Because if you come into the business already kinda understanding what the business is about and how much work is involved and what it looks like, and that all that glitters is not always shiny gold, and sometimes it's just a whole lot of shiny trash that has to be parsed through... >> "Shiny trash" -- I like that.

>> ...and a lot of work needs to be done, in the sense that there's always -- I think there's a misperception about this entertainment business.

There's a lot of work.

For every minute of television you're seeing on TV or on a film, there are hours and hours of preparation, there's hours of research, there's hours of resour-- I mean, there's significant resources that go into making that show up the way that it does.

So, I think, the more you know about the industry, the more you learn and really research before you want to jump into it, the better prepared you'll be so that you can navigate your way through it, because it's definitely doable and it's definitely fulfilling.

But there's a lot of work to it.

So you just have to come in knowing that it's not just, "Ah, shiny."

>> Glitz and glamour, right?

Well, I really appreciate you and Chuck sharing those tips, because we did an interview with Les Brown, and I will invite our viewers to go back and pick that up.

But he was talking about these four principles on power to be you.

And the first two that he talked about were the two that you all just cited, which was, number one, have some passion about what it is you want to do.

When you think about the question, "What is my why?"

be able to answer them, but more importantly, feel it.

And that's what I heard you say, Chuck.

And then the second, Bree, was to be prepared.

You know, there's nothing like making the investment and being prepared -- studying, understanding your industry, understanding how it operates, and that's what Les talks about.

Make the investment in your own preparation so that you can pursue your passion more fully.

So I thank you-all, too, for those really real-life examples.

They're very, very, very important.

I guess it's time for me to wrap up.

I knew it would not be enough time for us talking today.

I knew that when we started.

I tried to cull it down to this 30-minute session.

Because you all are so dynamic and so interesting.

>> Thank you.

>> And I've followed you.

I just love the quality of your work and the heart that you put behind the work, and the investment that you make in this community, the DMV, which is DC, Maryland, and Northern Virginia.

So you really do work and you've made us proud.

So I'm going to sign off, and I'd just like to wish our viewers a safe, productive, and what we call be-happy week.

I'm Dr. Vanessa Weaver, your host of "Workin' It Out."

Goodbye.

>> ♪ Got problems on the job?

♪ >> ♪ On the job ♪ >> ♪ We're workin' it out ♪ >> ♪ With Dr. Weaver ♪ >> ♪ Workplace got you stressin'?

♪ ♪ We're workin' it out ♪ >> ♪ With Dr. Weaver ♪ >> ♪ Yeah, we're workin' it out ♪ ♪ Workin' it out, workin' it out ♪ >> ♪ With Dr. Weaver ♪