Gerald Barclay has been making music videos for Snoop Dog, Master P, and Nona Hendrix, to name a few. He has also made a great award-winning documentary about Liberia that is still hailed as monumental in the telling of the war that ravaged that nation. He has also produced and directed a movie, Bloody Streetz, that can be found in DVD stores around the nation. His crowning achievement, though, might just be the documentary of one of the most talented hip-hop pioneer groups from the 90’s, the Wu-Tang Clan. The group’s first album, Enter the Wu-Tang (36 Chambers) propelled the legendary group to infamy and clinched their position as a strong hip-hop group from the east coast of the United States. They basically shifted the balance of power that had been dominated by west coast rappers, and changed the way the game was played.

Jamati: You interned on “Jungle Fever” and “King of New York”, directed a documentary and a feature film, and directed over seventy-five music videos. How does directing music videos differ from movies and documentaries?

Besides basic knowledge of the shooting formats, the approach is different. Music videos can be turned around quickly. I can shoot over 10-15 music videos in the same time it takes to put an entire film together. Documentaries can take even longer. I’ve always described documentaries as a two-headed snake and very difficult to control. You can plan to follow the story one way but end up with a totally different final product. You have to constantly re-evaluate the story and reshape the ending because it can change on dime. Like the Wu-Tang documentary, I was originally just going to be a concert documentary at first. But when ODB died, it really changed the dynamics of the group. The group had also spilt up so the story shifted and focused more on what drove them apart. Learning editing also helped make me a better editor. I enjoy watching Steven Spielberg who has a solid engineering background which he draws from to research material for his films.

Jamati: You produced music videos for some really big names in the hip-hop industry including Snoop Dogg, Master P, Silkk the Shocker, Killa, Nona Hendrix, and the Cocoa Bravaz. What are the challenges you face? Did any of these musicians inspire you?

I was fortunate to have worked throughout the ‘90s. I think that era was definitely the hip-hop renaissance. The music embraced, defined, and expanded what hip-hop was. Wu-Tang Clan and Master P were a big inspiration to me and I enjoyed working with these artists because they were visionary.

Jamati: You are now responsible for directing a documentary on a group that is arguably one of the most prolific and talented hip-hop groups of all time - The Wu-Tang Clan. What was it like working with them? Did you spend time on any of their tour circuits?

It was incredible. At first we didn’t even realize what was going on, but they were becoming a movement. I saw the music come together, shot some videos and got to witness many candid moments. Looking back 13 or 14 years, you realize that you were part of something big. A really good and amazing situation at the time as hip-hop was basically owned by the west coast people like Dr. Dre for example. We recaptured that and, as you watch, you feel the movement happening.

Jamati: You started your work with the Wu-Tang Clan with the original founder of the group, RZA, and Academy and Emmy nominated director, Tony Lover. In essence you were there at the beginning of the making of the Wu-Tang Clan. What challenges did they face and what was the experience like for you as you filmed their videos?

I had graduated and couldn’t find work so I started workingas an apprentice at a video production studio, sweeping floors and cleaning toilets like the Karate Kid for 9 months. I started working on commercials with Tony Lover who recognized my talented and nurtured it. That’s when things started happening. Working with him was like getting a Masters degree in film–he taught me very well. I had been at the studio about a year when I got a 15 mm movie camera and shot a video for M.E.T.H.O.D. Man for relatively cheap. It was the start of something big.

Jamati: ODB’s death was premature and shocking. How did the members of the Wu-Tang Clan deal with the loss? What was its effect on you?

It was shocking. He was an integral part of the group. When you watch the documentary, you see that it is mostly about ODB. He was the key player in the group and his antics kept the group’s name in the limelight. I met his wife when I moved to Atlanta and found out that she had lived in the apartment that I moved into. His son and family and I have become close. Somewhere in the movie you see the real ODB a.k.a. Russell Jones. The media never really captured his true essence. A good example of this is, in 2003, VH1 did a reality show of ODB. We both had cameras and we captured totally different things. It shows that people will see different things even though they are looking at the same thing.

Jamati: When is the Wu-Tang documentary scheduled to come out? Do you know if they plan to reunite for a tour (rabid fans would love to hear you say yes!)?
It is scheduled to come out in the first couple of months after the new year–around February/March. The remaining members of the Wu-Tang Clan did a tour last summer as a tribute to ODB. They might come together to make things happen again.

Jamati: You have a movie, Bloody Streetz, out in stores. What inspired it?

Surprisingly Bloody Streetz has loyal followers. I did it in a way that it was directed to people who needed to see it. I realized that I have a gift to do something that influences people and make a change and, at the end of the day wanted to produce something that can affect people’s minds

Jamati: What projects are you working on, and what can we look forward to seeing from Gee Bee Productions?

I am working on Island Mentality, a Wu-Tang version of 8-Mile. It’s a hip-hop action comedy set around a new wave of music from Staten Island. I also have 60% of Love of Liberia, Part II done. (Laughs) I need to delegate in order to be more productive.

Jamati: Thank you for taking the time to interview with us.

It has been a pleasure.

You can learn more about his projects and clients by visiting his web site.