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April 21st, 2019

Straight Outta Compton Cast Interview

“Straight Outta Compton” is F. Gary Gray’s powerful biopic about the rise of N.W.A., one of the most seminal and controversial groups in the history of hip hop music that formed on the streets of Compton in the late 1980’s. During L.A.’s flourishing rap scene, five young men — Ice Cube (O’Shea Jackson, Jr.), Dr. Dre (Corey Hawkins), Eazy-E (Jason Mitchell), DJ Yella (Neil Brown, Jr.) and MC Ren (Aldis Hodge) – transformed unapologetically explicit lyrics and hardcore beats into revolutionary social commentary fueled by their frustration and anger about life in their inner-city neighborhood.

At the film’s recent press day, Jackson, Hawkins, Mitchell, Gray, Cube, and Yella revealed how this was a dream project for over 20 years, why the actors were excited to be a part of it, the extensive preparation required to portray iconic figures, the brotherhood they formed in the process, why Paul Giamatti was Gray’s first choice to play manager Jerry Heller, the most difficult scenes to shoot, how N.W.A. opened it up for artists to be themselves, why the group provokes the same energy now that it did back in the day, their perspective on how the relationship with police has evolved since then, and more.

Check it all out in the interview below:

QUESTION: Can you talk about the genesis of this project and how this came together?

F. GARY GRAY: I’ve been involved with this project for four years. I got the script from Cube and one of our other producers. At first, I was a little nervous because there’s so much story there to cover, ten years and five guys, but when I read the first draft Andrea Berloff wrote, I was like, “Okay, there’s something really good there.” Then, when I talked to Cube and explored what we really could do with this story, I joined the project.

ICE CUBE: This has been a dream project forever. Ever since I started producing in 1995, this has been in the back of my mind. When it was looking to become a reality, there was only a few people I would even ask to do a movie like this, and one of them is sitting right next to me. By Gary choosing to direct the project, the movie really started to take shape and we started to hone in on what we needed to do to produce this movie and get it on the big screen.

DJ YELLA: I think it was a great idea because we didn’t really realize 26 years ago that we’d be doing “Straight Outta Compton,” that it was such a good story and a lot to it: happiness, sadness, all kind of business, showing all the issues we went through. But we kept focus on what we did. Our passion was music, the lyrics, and we didn’t let anything stop us. It’s a great time right now and it happened to be perfect timing for the movie. Twenty-six years later, the music still sounds fresh. It’s not outdated or anything. It’s keeping up right with the times right now.

Q: In seeing the movie, we discover three extraordinary performances. Jason, Corey, and O’Shea, how excited were you to be a part of this?

JASON MITCHELL: Oh man, super excited. I feel like I hit the lottery. Like here I am listening to Cube and Gary basically saying, “This is the best film and a dream come true.” I’m literally living all that right now. I mean the way I feel, I don’t know, I can’t really explain it in words. It’s emotional.

COREY HAWKINS: It’s crazy. It’s like Gary always used to say on set, “Just keep in mind the power of what we are doing. We’re making history about a group that made history.” But, for us, it was just coming to work every day. We didn’t take it lightly. They placed a story in our hands that we just wanted to do justice to. Thank you to Gary and Cube and Dre and Tomica and Yella and Ren and everybody. It was a team effort.

O’SHEA JACKSON: It’s a huge honor because we’re speaking about N.W.A., but at the same time, this is my family’s legacy. I’m just so thankful that the ball was in my hands and I was able to submit this in history. It was hard work. There were two years of auditioning with Gary and things like that to put it into motion. And, with the final project, I couldn’t be happier.

YELLA: I’d like to say one thing. You guys did a great job – from Gary to all five of the actors, everybody. It was a great job.

GRAY: It was an honor to tell the story. I know you guys hear that and it’s really, really cliché, but this story is really personal to me in a lot of ways. I don’t want to minimize what these guys did because it was really, really hard. You hear about great actors doing a lot to take on a role. I had these guys going to the gym. Some had to lose weight, some had to gain weight. We went through DJ school. These guys recorded “Straight Outta Compton.” I had them record the entire album. I had these guys do so much in I believe it was 8 weeks. It was a two-month period where they worked around the clock with wardrobe and their trainers. They worked with Dub-C, who is William Calhoun, where I got my start. He worked with them to perform on stage and how to walk, talk, and absorb the L.A. culture and the West Coast hip hop culture. They did it in such a short amount of time. It’s a great feat what these guys did and to deliver such a natural performance. These guys didn’t come up and mimic. They didn’t come up to pretend like Dr. Dre or Ice Cube or DJ Yella. These guys gave a world class performance. I don’t want to minimize their efforts at all.

Q: For O’Shea, being your dad’s son, I’m sure you knew his mannerisms, but did you have to learn some new nuances to come up with your own version of this character, Ice Cube? And Ice Cube, did you give a few pointers to your son?

JACKSON: Well, if you really want to be technical, I’ve been doing my research for 20-plus years, but it was certain things just to put me into that time period. I know solo Ice Cube. I know that guy. I’ve got to dip into how he was hanging around with his friends, how he acted and things like that. So, I would look at old interviews, see how they were joking around, or get some of his lingo like “Do you know what I’m saying?” and stuff like that. That was just to pull myself back into that era. That was what my research was for really.

CUBE: As far as me, what I did with him, I just wanted to give him all the ammunition he needed. I wanted to let him know what I was thinking at the time, my perception of everybody, what I thought of Jerry Heller, to Eazy, Dre, Ren and Yella. Just so if he did ad lib or he did go off script, he would have that ammunition to know how to address this one or address that one and just how to be in the scene, because I knew Gary wouldn’t go for anybody being a mimic. All I knew was that I could just fill him up with information, and then let him do his thing. He developed into a great actor during this process. I have total confidence in him and in Gary to deliver this role.

GRAY: You really have to imagine what he had to go through. It is funny in a room after we’ve delivered the movie and we feel really good about it, but the 20 years that he mentions, it only counts if you know you’re going to play your dad in the movie. That only counts if you know for 20 years, “I’m gonna play this role.” But it wasn’t that way at first. You didn’t know that you were going to play this role. Right?

JACKSON: No, not at all. In fact, when he told me about it, it was intimidating. It’s Universal. It’s a big time studio. Gary don’t play. So, it’s a lot to take on, especially if you’ve never acted before. But he got me the coaches I needed. Gary put me in front of Aaron Speiser and Susan Batson and all these great coaches teaching me these different techniques to really mold me into something, into an actor. It was all in the preparation. Those two years, I’d do it again, of auditioning, coming back, getting call backs and more information and more homework from Gary. And then, the boot camp and all the prep is what really brought out my performance.

Q: What would you say to the critics that would have roasted N.W.A. and wanted to crucify them 26 years ago and are the same guys that will turn around now and praise the movie?

GRAY: See?!

CUBE: It’s a little apples and oranges. The record is real life moving at the speed of real life. This is a movie that looks back. It’s a piece of art just as much as it is speaking on the things that we were speaking on. I can imagine you appreciating this movie and still having a problem with the group. That’s natural, too. So, for those that came around, “Welcome to 2016. We’ve been looking for you since 1989.” It’s great. We’ve been doing films for 20 years. We’ve been in the business. Just to be at this level where we can deliver on a movie like this and we don’t stumble or fall on our face to me just shows the different talent level and a different creative energy. I can expect that some people will love the film but hate the group still, and that’s fine, because it’s all about being real. And we want people to be real even when criticizing the group. If you don’t like the movie, you can kill yourself.

YELLA: It’s amazing how it’s getting changed around today. They hated us. They literally hated us. And now, the movie is just showing our life and it’s like I guess it opened the eyes up and they’re just like, “Wow, this group is kinda strong here. They done did some things here. They done started the sticker on the record and the first ones to get sued by sampling. We did a lot of things. We opened up their eyes. They may still hate us a little bit, but not as much.

Q: Why did this come out of Compton and how do you feel about making history?

YELLA: It’s amazing after all this time that the group still provokes thought, controversy. It still provokes the same energy that it did back then. That’s kind of remarkable. We did a lot to change the texture of entertainment in a lot of ways. You think of how entertainment was before N.W.A. compared to how we are after N.W.A. I think we just opened it up for artists to be themselves and not to put on the mask of, “I’ve got to be a good guy in front of the camera.” We just opened entertainment up and we just opened artists up to truly be themselves and not have to worry about trying to portray the squeaky clean image. When they saw N.W.A. was just as famous as a Fresh Prince or somebody, it’s like, “Yo, you can be yourself and you can still make an impact on the world.” So, I feel good that it is a part of history and that we lookin’ back on this time and that the movie shows the why, not just where, when, but why did we do this kind of music. People gotta understand that where we come from, that forged N.W.A. It was the streets of Compton, Watts, South Central, Long Beach. That’s what forged N.W.A. We wanted to show that in the movie.

Q: As someone who grew up in Los Angeles, I was particularly struck by the impact of the encounters with the police. What is your perspective in terms of how relations have evolved with the police since you were dealing with them?

CUBE: Ultimately, in the movie, and Gary can speak on this, what we wanted to show is the humiliation, because that is the real issue. We understand that cops have to be a little heavy-handed with criminals, but we don’t understand why they gotta be that way with citizens. So, what we wanted to show was the humiliation that we faced and we wanted the audience to feel that same kind of, “What if this was happening to you?” Eazy was doing his thing in the beginning, but ultimately most of the incidents were just situations that can happen to anybody at any time. And when the audience knows that we’re not criminals, and they see that happening to us, it feels like it could be happening to them or to their neighbors. That’s why we did these songs. It wasn’t because we don’t like police. If somebody breaks into my house, I’m calling the goddamned police. I’m not calling the homeys, Ren, Yella or Dre. I’m calling the police. So, we understand that. It’s just like, “Don’t do the citizens this way.” That’s what has to stop. Gary was…we were both anal about how we were going to deal with these issues that we knew that forged our protest and our reasons for doing this music.

GRAY: Yeah. It was important. Like he said, the violation was there. I experienced it. I grew up at the same time and roughly the same area, and it was important to understand why a 16 year old would write these lyrics and to give you a sense of the backdrop and what was happening socially and otherwise. Cube supported me 100 percent. N.W.A. stepped out and shined a light on that pre-internet, pre-camera phone. We’re getting a lot of questions about law enforcement because of what’s in the headlines today. I’m actually optimistic. As much as we’re seeing month after month, week after week, more videos showing up, I’m actually optimistic because of the headlines. And just like they shine a light on excessive force with law enforcement, there’s no way you can watch these videos and not understand that change is coming, that pressure is being put on our leaders, pressure is being put on law enforcement to change, and now they’re in the spotlight. People said that crime went down when they started to show those shows like “Cops,” because criminals will look and say, “You can’t get away with that type of stuff.” Now the camera is pointed in the other direction. And for all the good cops out there, salute. From my perspective, that’s cool. You have nothing to worry about if you’re not doing anything wrong. I like that they’re considering body cams for most police officers. They did a study in Rialto, California where they tested it with body cams and with cameras on the cars and things like that, and the complaints went down 88 percent and the incidents went down 60 percent. So, it’s not just about protest now, it’s about solutions. I think that’s a great direction to go in, and I like that the headlines are showing this because it’s putting a lot of pressure on law enforcement to change. It kinda started with these guys. Oh, I won’t say it started, but I think they continued in their own way to protest, and here we are today.

Q: Can you talk about casting Paul Giamatti and what he brought to the movie?

GRAY: My first experience with Paul Giamatti was on “The Negotiator.” I directed him early in his career. “The Negotiator” was with Kevin Spacey and Sam Jackson, and I had a great time with him then. He gave an amazing performance. He played Rudy. When I read this script and I thought Jerry Heller, Paul Giamatti was my first choice, absolute very, very first choice. We had to consider others for other reasons, but when the casting conversation came up, he was my very first choice and that’s it. Then, as far as Paul portraying Jerry, we just did quite a bit of homework. Jerry wrote a book called “Ruthless” and a lot of those details of his relationship with Eazy-E and Ruthless Records were in there. Paul did his homework. I’m just lucky I was able to get my first choice. It doesn’t always happen that way in the process of making film, but I was lucky across the board to get the cast that I wanted and needed to tell this powerful story.

CUBE: With Paul, and with the Jerry character, we knew it was a great opportunity to cast a well-respected actor. We knew that we were doing this movie with a lot of unknown faces, and that if we didn’t have somebody with some weight, none of y’all would take the damn movie seriously. So, we felt like it was important and for Universal to try in any way we can to put serious actors in that had a following to the point where people knew that we were making a serious movie and weren’t just trying to make a hip hop super monteur video. That was important. And as far as Jerry Heller is concerned, he was always a champion for the group. When it was about N.W.A. versus the world, Jerry Heller would jump out front and fight. Now dealing with us individually was a different story. But as far as being a champion for the group, he always fought for our right to be who we are. We wanted to show him and show his humanity as well as everybody else. We didn’t want to shortchange him even though he’s our villain. We wanted to be fair and authentic with this whole movie.

Q: There is such a range of emotions in this story from anger to sadness to happiness and having fun. Were there any scenes that were difficult for you guys to watch, especially when it’s bringing up the past?

YELLA: I would say the hospital scene was probably the worst for me. I’m reliving this and the actors did such a great job. On the day of filming, you couldn’t even talk to the actors because they were so focused. They act like they’ve lost a friend in there for real. You know, Jason’s right here. He’s still here folks. The way they acted and the way the scene came off, it was just like, “Wow.” I had to shed a couple of tears. I know that. I’ve seen it a couple of times. I was like, “Wow!” The hardest part for me was that hospital scene.

CUBE: Yeah. And putting that movie together, me and Gary, we was editing this movie back and forth a lot. I find myself putting a movie together like whoa, you know, tearing up, welling up. It was emotional in a lot of different areas, seeing Dre’s brother dying and the reaction to the group. It was pretty hard. Seeing Eazy get cornered in the studio was kind of rough. The hospital scene was real rough for me. Even shooting, we had to walk out a few times.

MITCHELL: Thank you. First of all, that really feels good to know I hit the mark. It was all the grand scheme of Mr. F. Gary Gray right here because I remember that week. They actually called it the Eazy week. It was the week before last of shooting, and by that time we had built up a brotherhood that felt like when they saw me, they didn’t see Eazy-E. They were seeing Jason in the bed like, “What are you doing, son? You can’t die. What’s happening?” I remember you could just cut it with a knife it was so thick. And everybody was so quiet. Even if I tried to talk to people, they were like, “No. We get it. You need a break. We understand.” Man, it feels good to know that I can have that creative mantra to be able to really show what I have. This is going to change my life forever.

GRAY: That was an amazing moment for the cast because we really set out to make sure there was an organic bond in rehearsals. I wanted them to build a friendship and they did. So, when we shot that scene, I remember when Neil who plays Yella saw him in bed, he literally could not shoot part of the scene. He had to go into the other room because he couldn’t see Jason there laying like that because his performance was so good and so realistic that it really affected him emotionally. And part of the reason why we picked Jason was because of his background. He had heart and street credibility, and I knew that one of the moments, I knew when he performed that scene, he tapped into his experiences on the street for real. It wasn’t a thespian moment. He tapped into some of the experiences he actually had in real life and that’s the reason why that moment was so emotional for all of us. I cried when he did it because I couldn’t see my friend in that much pain. That’s again the reason why the performances are outstanding because they tapped into what’s real and we created something that was very real for them to access when they performed.

MITCHELL: It’s crazy because as men we don’t really do that very often. You know what I mean? We don’t hold each other and be like, “Ah, look what we’re going through. Let’s cry right here.” You know, we don’t do that. We don’t do that with each other. Gary was asking me, “Do you need anything?” Because he’d have me in the trailer like, “Bro, I can’t really take your word for this part right now. You’re gonna have to show me something. You’re gonna have to crack a tear. Let me know where you’re gonna go with. You gotta give me some type of …” And I’m like, as long as I feel emotionally safe to be able to let go, I’m gonna let go. I got so much to cry about. I mean, I lost friends shooting the movie. They called me at 5:30 in the morning like, “Damn, they done got Dale.” People getting killed, people going to jail, and I’m like, wow, I’m being supported through all this. I’m supposed to be living the dream. And then, I get this amazing opportunity to just let go, and I’m like, “Trust me, G, I got some stuff to cry about. Don’t even trip.” You know, by the end of it, he had to come get me because I couldn’t stop it. So, I appreciate it and I’m glad I hit the mark. Thank you all. I appreciate that.

Q: Jason and Corey, you talked about O’Shea playing his father, but we’ve heard how much a perfectionist Dre is in the studio. I can only imagine how he would be if someone is portraying his life in a film. All of you had someone to look at that’s here with us, whereas Jason, you did not. How did you prepare? His son is here. Was he an influence on you at all?

MITCHELL: As far as him not being here, it’s a great responsibility, but I feel like it’s a great blessing. I needed this. I really, really needed this. There was so much that I was going through, I needed this. I had so many guys who wanted me to hit the mark and made sure I had everything I needed. So, it was easy. It was easier than it seemed to be able to get comfortable because I realized that they had so many people who wanted it to be right that you know somebody is going to speak up if it’s not. You don’t feel like they give you as much room to fail. It’s either a hole in one or that’s it. They tried to do as much as they could to make sure I stayed on that path. But it’s a great privilege because they have so many people who never met him and I get to humanize him. People will forever envision me like, “Man, he’s Eazy-E.” Like I won’t even be Jason Mitchell to some people. “Man, you E, dawg!” They had a dude get under the bill of my hat and say, “Bro, you’re like seeing a ghost. It’s so real.” That’s incredible. I will live with that forever. Like you said, Dre is a perfectionist who we see work. Cube is larger than life. And these guys (referring to Hawkins and Jackson) are right there.

HAWKINS: Every day.

MITCHELL: That really has to be the pressure. It’s a great privilege in disguise. It comes with a lot but it’s definitely a great privilege in disguise.

HAWKINS: I just feel humbled. I look down this table and I see my idols, including Jason and O’Shea. We really from day one set out to do justice to this story. For me, personally, I’m the guy coming from Julliard. I’m saying I just did Shakespeare, Tybalt on Broadway, so I had a moment where everybody’s like, “I don’t know if you gonna be able to do this. Do you listen to rap music?”

YELLA: Have you ever heard N.W.A. before?

HAWKINS: I grew up in D.C. and back then we called it the District of Crimes. It’s a little better now. But it’s crazy because my mother’s a cop and she is one of the good ones. I look at what she does in the neighborhood and the volunteering that she does to get into the streets with the kids and what I do to get into the streets with the kids. I could have easily gone that route too because my father comes from the other side of the tracks. So, it was an interesting dynamic in terms of this movie for me. With Dre, I remember the very first time Gary was like, “So listen, you’re about to go to dinner with Dre. You good?” He was like, “You know, I just want to make sure you got everything you need. You know what I’m saying?” He was real conscious about how odd and how nervous I was to meet Dre. We ended up going to Katana, man.

GRAY: We went to Katana.

HAWKINS: We sat down, watched the playoffs. I really don’t even think we talked about the movie. We just started kickin’ it. And for like a split second I had a moment where a year ago, even a few weeks ago, this would have never been. This opportunity just opened my world. Dre was just cool, and I remember at the end of the dinner he pulled out his Apple phone and I’m sitting over there with a Blackberry. He pulled out his phone and started passing it around the table and everybody’s like, “Ah, man!” And I’m sitting there like, “Can y’all let me in on the joke? What’s going on?” And everybody’s like, “Damn, damn!” It was my audition tape on his iPhone. At the end of that day, I just remember him pulling me to the side and he was like, “You the man for the job. You got this role. Don’t worry like they said. Don’t worry about mimicking me or impersonating me. You know we could have easily found somebody who looked just like me and sounds just like me.” My stand-in damn near looked more like him than I did. But it was all about he said, “I’m just interested in you capturing the essence of what we all represented individually, our humanity, the good, the bad, the ugly, everything in between. From that day on, you know, if it was 4:00 o’clock in the morning, I could call him and talk about a moment. Gary and we would all conference in the trailer and talk about the smallest details. That moment when he lost his brother, because I never knew that he had a brother personally, and then he lost him while he was with the group. I remember him coming to set and I was so nervous, man. And it was early we was shooting, too. Why did y’all do this to me? This was the second week. He came to set and he brought his whole family. It was like an hour away. All the guys were there and we did the first two times. I remember I kept looking over just to check in at video village. Then, about the third time, I looked over and he was gone. I was like, “Damn, I guess I missed the mark on this one.” Then, I found out later that it was still that heavy for him. He literally couldn’t sit there and relive that moment again.

GRAY: Give props where it’s due. Your performance, you killed it. You took him back. It took him back. You can’t say it, but I can. You sunk right into that moment and it took him back to that moment and it was an incredible experience. I was right there. We were in video village and he’s watching the monitor. This big guy who you don’t normally associate with vulnerability became so vulnerable in that moment because of your choices that he couldn’t stay.

HAWKINS: Thank you, man. That’s a testament to these guys right here including Aldis (Hodge) who plays Ren and Neil (Brown Jr.) who plays Yella. That was an early moment where we established…we had already established a brotherhood, but that moment early in shooting we locked in. We went on that journey and it led to that. We had the fun in between, and chronologically, you’re a genius the way you shot it, G, because by the time we ended principal photography with Eazy’s passing, it was just like everything was in pocket. Hats off to you.

GRAY: Thanks, Corey.

Q: Were you able to spend time together outside filming and did that help with your chemistry?

JACKSON: Actually the first time the three of us met was at the chemistry test. I walk in there. I’ve never done movies. I don’t know how chemistry tests go or nothing like that. I just think it’s going to be me, a Dre, an Eazy, and we gonna knock this out. I get there. I see a Jheri Curl. “You must be going for Eazy-E. How ya doing? My name’s O’Shea.” He looked at me and he said, “No, I’m going for Cube.” “Well I got some news for you.” So now I know the game plan. I meet another Cube. So now there’s three Cubes here. There’s three Dres and one Eazy.

MITCHELL: And they never told me I had the job.

JACKSON: Gary had already made his decision and we don’t know that yet. So, you know, from there they got us mix and matching, trying to find the perfect combination. And then, when it was these two (Hawkins and Mitchell), when the three of us were working together, Gary could throw something at us to improv. We would bounce off each other. You felt it. There was even a moment where we were like, “This is it right here.”

GRAY: You guys cheated. They did cheat because they decided they liked O’Shea better than the other guys and their performances started to sink. So, I knew what was going on.

JACKSON: That was the first group huddle of many. But, you know, when I met my man, Jason, we’s choppin’ it up. You can kinda feel when it’s a good person around. This was his first time in L.A. They was ordering pizza. I was like, “You gotta go to In-N-Out.” So I took ‘em to In-N-Out, and like the next day, me, him and Corey, we was all kickin’ it and we’ve just been bonding ever since. We had to jump Neil and Aldis and get them initiated to the group. Gary really worked on us building that chemistry because it has to translate on screen. “You guys gotta be lifelong friends right now! It has to happen.” He would do things like call for rehearsals and we were waitin’ for Gary to come down for the rehearsal and he was doing a thousand other things all around L.A. During that time you waitin’, you guys are talking. You guys are having conversations. You guys are getting to know each other. Rerecording that album, we were really critiquing each other, trying to get each other to sound like the artists we’re portraying. It was just things like that, that we really built a brotherhood and we really are friends to this day. When we’re in a group chat, all five of us, it goes down.

GRAY: These are tactics that I used for “Set It Off” with Jada Pinkett, Queen Latifah and Kimberly Elise. The same with “The Italian Job” where I had to have a group of people come together and have an organic relationship. They sunk right into this process and it worked out well.

Q: Cube and Yella, I’d love to hear how you, Dre and Ren, in order to make this movie, discussed that time in your shared history and those tracks that you exchanged?

CUBE: With us, it was never a discussion. We just wanted to be real. We wanted to be honest. We all got blemishes that we wanted to show. We didn’t mind. And we were looking for ‘em, too. We’re not hiding nothing. I just think we’ve always been like that with each other, just honest. We don’t pull no punches. It’s all love. I got so much love for Yella. I’ll tell him about himself just like he’ll tell me about myself. It’s just a part of our history that we wasn’t gonna just gloss over, especially if Gary Gray had anything to do with it. He wouldn’t let us gloss over anything. It’s just something that we did without having to ask each other or look for each other’s shorthand, saying, “Is this cool? Is this right?” Let’s just do what’s great for the movie.

YELLA: It was a big part in the movie and I love the way Neil played it off when he stopped and said, “Yeah, I like that.” I give him props. Hey, he got us. But, you know, we all in the bond. It was five of us, now it’s four of us. This fraternity you can’t buy in. You had to earn your way in. And we gonna be friends for the rest of our lives until we old and can’t hardly move. Hey, great job!

Q: I’m curious if you guys would ever like to see a video game based on or influenced by N.W.A.?

CUBE: Why not? You know, they got Grand Theft Auto. That’s damn near the N.W.A. They just have to change the packaging and we can start getting some goddamned royalties.

YELLA: Someone will be saying, “Is that Eazy walking down the street?”

GRAY: Seriously!

“Straight Outta Compton” opens in theaters on August 14th.


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