Yeah there were quite a few different type of typos so I went through the whole thing and here is the revised version:

I received a comment by Paris20 so I'm responding to what Paris20 mentioned to me as a comment. Here is Paris20's comment and at the bottom is my response to him and to Joseph Phillips, actor and columnist.

PARIS20

"I only saw the Spike Lee comment briefly. but I also heard the former actor turned columnist remarks concerning Lee. I feel that the former actor is wrong in saying that Lee would have to justify to himself in regards to receiving funding for a film because it's a business. First of all other races really do not have to justify much at all so I feel that being a Black Republican he already has his view formulated and that is why his roles on tv was limited. This kind of undermining by so called Blacks are what the industry loves to see, they want to know that Blacks like the former actor feel that way about their own. First of all with all the stupid, corny and insulting movies that others put out, it's amazing to hear the former actor/columnist response. Movies like American Pie, and the others doing stupid stunts. Why not have these people justify why they make these kind of films?. The industry do not want any positive or truthful movies that would uplift the Black race. I even had to write a critic speaking negative about the Great Debaters"...We can't win from these people so why try to please them"

BETO "MOONCRICKET" LOPEZ

I completely agree with you. I saw what Joseph Phillips, actor and columnist said as well and he is wrong saying that it is a business. If I were to agree with him then I would have been in the film business a long time ago with my films on the big screen on their way. I have had many opportunities to get my film out and my screenplays sold, but just like what Spike Lee was saying they want to make our films for us.

Spike said:

SPIKE LEE: I'm not saying it's impossible to get a black film made; I'm talking about a specific type of black film. If I want to do comedy, have black folks shucking and jiving with coonery and buffoonery, I'd get $100 million for that in a second."

Then Joseph Phillips goes on to say:

JOEPH PHILLIPS

"And unless he can justify why he should get that much money, he's not going to get it. And that has nothing to do with race. "

You know maybe for some filmmakers of color but most of the time it has a lot to do with race or your background or who you know in the business or maybe Joseph has a different type of background that gives him respect, I don't know.

But I do know my experiences and for me it has been race. For example, like mentioned on my last video report before this I explained about my film and how tough it has been. The movie "RIZE" received funding very quickly and a lot of it was from the director’s own funds, but they still needed more. He is already somebody as a photographer in the business and he is white. He goes to one hood in LA, makes a documentary in a very short period of time, he learned about the Krump movement while he was there and with no knowledge of digital filmmaking and film gets the film gets into Sundance.

I was there at that premiere at Sundance and it was bought by a big studio and later on by selective big screens and now everything we know about Krumping is from one documentary film.

I have spoken to the same people he has and they had shown interest but they don't follow through because I'm no one to them and they don't know who the people are in my film because I don't have pop hip-hop names in my film. The dancers in my film are historical to hip-hop dancers and with out the characters in my film from Brooklyn, Queens, Bronx and Manhattan, the movie "RIZE" and all these hip-hop dance films, movies and TV shows would not have happened.

Back to the corniness that Spike is dealing with,

For myself as a filmmaker/bboy dancer who lives the life of a real dancer you know that the story is more real. But Hollywood would rather hire the screenwriter of Kid N' Play from the 90s which was already a corny movie and have him write the screenplay. And if you seen the movie "You Got Served" just like any film with black characters they have to get into some trouble with a drug deal that keeps them from making it to their final dance battle.

Now if they read my script or saw my documentary they might have learned how it really is in the bboy dance word, because I know most of them and I can't think of a single bboy dancer who is a drug dealer and the ones that are never have the respect in the scene and if they do drugs they are not very good dancers. The best dancers in the bboy scene are sober like me. Hollywood candy coats everything to how they think it is and all their films are still stereotypes and real filmmakers will never get their chance here in America.

Now you know why after the Hollywood movie "Breakn' Electric Boogaloo" the colorful break-dance film that should have been called Popping and Locking in the streets of LA or something, killed the dance in the mid eighties and everyone laughed at anyone that break-danced after that. The dance was dead on TV in America and became a FAD while other parts of the world embraced it and never stopped dancing.

Now some may say to me "Well they don't know you" but I say in the real bboy dance world they do and support what I do and it is not about me it’s about my work, talk is cheap and I already made what is real. I'm a 34 year old half black and half Mexican but a white kid from the suburbs at the age of 19 with a digital camera who has an idea after going to one hip-hop dance event will get the funding.

How do I know this? Because those young filmmakers from the suburbs and from other countries contact me all the time on myspace, email and phone calls for my info on my film. They want my contacts of the people I filmed and want me to educate them on the history of this dance so they can go out and finish what I cannot even though I already have over 600 hours of footage captured. I changed my phone number so many times because of this and I took all info about my film and trailer off of the internet because they would rather steal from me then support and become a team. America has become greedy, black or white.

They will respect the real people of history in hip-hop and black culture only after they are dead and gone 20 years later. Just like the Jazz documentary films. The new artists and historians and professors speak on behalf of these legends. That is what will happen with the original dancers in my film. Pop stars from MTV, 20-40 years from now will speak on behalf of them as if they really know what they are talking about.

Blessings

Beto "Mooncricket" Lopez