Our goal was to highlight the futility of the violence, not celebrate it.Beware of horses I mean a horse is a horse of course, but who rides is important Sitting high with a uniform, barking orders, demanding order And I'm scared that I talk too much about what I think's going on I got a way with this, they might drag me away for this Put me in a cage for this, I might pay for this I just say what I want like I'm made for this But I'm just afraid some days I might be wrong Maybe that's why me and Mike get along Hey, not from the same part of town, but we both hear the same sound coming Woo! And it sounds like war Woo! And it breaks our hearts When I started this band, didn't have no plans, didn't see no arc Just run with the craft, have a couple laughs Make a buck and dash, yeah Get a little dap like "Yeah I'm the fucking man!", yeah Maybe give a little back like, "Here, I do what I can" It's all jokes and smoke 'till the truth start schemin' Can't contain the disdain for y'all demons You talk clean and bomb hospitals So I speak with the foulest mouth possible And I drink like a Vulcan losing all faith in the logical I will not be confused for docile I'm free, motherfuckers, I'm hostile They’ve already fought their way past their judgments and learned hatred toward one another. The film begins and it feels like they have been fighting for days, they’re exhausted, not a single punch is thrown, their violence is communicated through clumsy, raw emotion. They’re people-complex, real people and, as such, the power had to shift between them at certain points throughout the story. For me, it was important to write a story that didn’t paint a simplistic portrait of the characters of the Cop and Kid. It’s provocative, and we all knew this, so we were tasked with making something that expressed the intensity of senseless violence without eclipsing our humanity. We had to exploit the lyrics and aggression and emotion of the track, and translate that into a film that would ignite a valuable and productive conversation about racially motivated violence in this country. I felt a sense of responsibility to do just that. “When Run the Jewels sent me this, I knew we had the opportunity to create a film that means something. Grab a copy of Run The Jewels 2 on iTunes today. Watch the powerful video for Run The Jewels’ “Close You Eyes (And Count To Fuck)” and read a statement from Rojas on the sentiment behind the clip below. Rojas uses RTJ’s booming single to paint a powerful portrait, emphasizing the futility of violence as a police officer and young man grapple in the middle of the street, taking the fight home, to bed and back into the world in a self-perpetuating cycle of needless, yet intense struggle. Run The Jewelsreturns from their embattled run at SXSW with a ferociously thought-provoking clip for their Zack de la Rocha-assisted single “Close Your Eyes (And Count To Fuck)” off their 2014 release Run The Jewels 2.
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