The Art of Truth: How Documentary Filmmaking Captures Caribbean Political Movements with Richard Vaughan

What drives someone to pick up a camera and document untold Caribbean history with no formal training? For Richard Vaughn, it was a simple realization: the political stories that shaped the modern Caribbean were either missing from film archives or told through a heavily biased lens. Vaughn takes us on his remarkable journey from curious Jamaican-American to award-winning documentary filmmaker. With us, he describes what would become "The Love Trilogy" – three powerful documentaries examining pivotal Caribbean political figures: Michael Manley of Jamaica, the Grenada Revolution, and Cheddi Jagan of Guyana. The trilogy's name emerged organically from Manley's own words about his political movement: "The word is love."

The conversation weaves together reflections on Caribbean self-determination, the connection between political movements and cultural expressions like reggae music, and practical advice for aspiring documentarians. Vaughn's simple guidance resonates beyond filmmaking: identify what needs preserving in your community's history, start with whatever resources you have, and persist despite obstacles. Listen now to discover how documentary film serves as both historical preservation and a tool for balanced understanding of the Caribbean's complex political landscape. What stories in your community deserve similar documentation?

Richard Vaughan born in New York to Jamaican immigrants in 1980. Driven by a passion for his culture and determination to educate and tell stores that history often forgets. Winner of the Madrid International Filmmaker Festival 2017 for Best Editing of a Documentary and the 2017 Van Gogh Award: Prodigy Auteur at the 2017 Amsterdam Film Festival for his second documentary Rolling Along: An Inline Movement. Previous credits include The Word is Love: Jamaica's Michael Manley (2012), Rolling Along: An Inline Movement (2017), Four Years of Love: The Grenada Revolution (2021), The Price of Love: Cheddi Jagan (2024). Films available here. 

Chapters

• 0:00 Introduction to Caribbean Documentary Filmmaking
• 8:49 Richard's Journey to Becoming a Filmmaker
• 15:04 Spirit of 38 Productions: The Love Trilogy
• 19:15 Challenging Dominant Narratives Through Film
• 24:59 Finding Interview Subjects Across the Caribbean
• 24:59 Connecting Caribbean Political Legacies

Transcript

Speaker 1: 0:01

Welcome to Strictly Facts, a guide to Caribbean history and culture, hosted by me, alexandria Miller. Strictly Facts teaches the history, politics and activism of the Caribbean and connects these themes to contemporary music and popular culture. Hello, hello, waukwa and everyone. Welcome back to Strictly Facts, a guide to Caribbean history and culture, where, as always, we are talking about all the stories that have shaped who we are throughout Caribbean history. I'm your host, alexandra Miller, and today we're exploring a crucial but, you know, sometimes underappreciated part of the way that our history is preserved, and that is the art and labor of documentary filmmaking that our history is preserved, and that is the art and labor of documentary filmmaking.

Speaker 1: 0:50

We've been on a little bit of a journey of filmmakers and talking about film histories a little bit, and so I definitely wanted to extend this discussion a little bit further, and so, in my view, really, documentaries do more than just record the past. They give voice to the overlooked, they stitch together the fragments of memory and challenge us to see ourselves more clearly. Behind every powerful documentary is a filmmaker who must not only research and uncover hidden narratives, but also craft them with care, creativity and a fierce commitment to the truth. Their work requires not just technical skill but also ingenuity to navigate obstacles from limited funding to difficult interviews I'm sure we'll get a little bit into that today and a deep respect for the communities whose stories they are interested to tell.

Speaker 1: 1:34

Today we are joined by Richard Vaughn, an award-winning documentary filmmaker whose works have illuminated tremendous parts of our history, particularly from the 20th century, and so we'll be talking about Richard's works today, some of the challenges and rewards, really, of filmmaking and of documenting the region and our stories moving forward. And so, richard, thank you so much for joining us for this episode of Strictly Facts. Why don't you kick us off with telling our listeners a little bit more about you, what inspired your love of filmmaking and, of course, give a shout out to where in the Caribbean you call home?

Speaker 2: 2:09

Okay, thank you so much, alexandra, for having me on. So I'm Richard Vaught. I'm originally from New York, my family's Jamaican. My mother and father are Jamaican, my grandparents the whole way back generations down in Jamaica. What got me started in documentary filmmaking was it was in 2005.

Speaker 2: 2:25

I had this is when I had moved from New York to California. I just was looking around for films. I'm like, where are all the films on, like Michael Manley, where are these films? Where can I find them? So there were none. I said maybe I should make one and then I said, nah, I can't do that. And one of my friends had told me at the time he goes, why not? And I said I don't have the time. I don't know how to make a film. Are you crazy? So fast forward to 2010,.

Speaker 2: 2:50

I had met someone who was actually in college at the time. She was actually a master's degree student and she was at a community college just taking a filmmaking course. I saw a book that they had in the class and that they had in the class and it was called like um, shut up and shoot a documentary filmmaker's guide very guerrilla filmmaking, just get your camera and shoot. So I was like all right, let's see what this book says. So I read the book and I was like, okay, I think it's really possible for me to do this. So at that point I started gathering materials for mainly Michael Manley, because Michael Manley has always been a inspiration to me, cause I remember growing up in New York I would always see like old interviews would come on the TV of Michael Manley and my father would be watching and like cheering and my mother told me stories of when she was a little girl and they went to meetings with her father and Norman Manley would be there. So it was always like a mysterious mystique. Jamaican politics in my household. My parents weren't really like mainly political, they weren't like forcing political ideas on us, it's just like, hey, this is what we know and these are like our politicians.

Speaker 2: 3:54

So yeah, so come to 2010. I started just getting michael manley's books started finding I just do a lot of searching, a lot of ebay purchases, because a lot of these books were not in print anymore gathering all these materials together to make the film. So I just started reading one book after the other is taking notes on the books because, um, I graduated from college in 2003 with a degree in psychology a bachelor's degree in psychology and a minor in business so I wasn't like trained for doing filmmaking or research. I just started doing it because it's something I felt passionate about and, um yeah, so I started doing the research. Um started pretty much like saving every little penny I could at the time to get a camera, and my grandmother was the one who gave me the last $300 I needed to purchase the camera. So that's why in the Michael Manley film you'll see her name as an executive producer.

Speaker 2: 4:46

Oh yeah, so that's how I really got started. It's been really great. Since then, it's been really good. Everyone who I've interviewed or contacted has always been like number one. They're shocked that someone's calling them to like interview them and they're also the next. The next shock is that I actually show up in film.

Speaker 1: 5:00

So it's always just been um good interviews so far I always love to hear people's stories and even, um, you know, I was really touched just in hearing how your grandmother invested in your dream, right? I think oftentimes we we have these, these moments, right that it's sometimes later down along the on the path of our journeys that we're like. You know, granny really did look out for me, you know, when everybody else wanted me to become Dr Laya, engineer, whatever, you know, there are just, of course, the ways that our people show up for us and so, really, you know, moved by your story and, of course, really grateful to have you on the podcast. That introduction brings us, of course, to your company today, right, spirit of 38 Productions, which you know from reading your bio and website. I know a little bit about, but do you want to tell our listeners why Spirit of 38? I'll gush about a little bit more after you tell us more about it and just sort of the intentional focus of creating this company really to support Caribbean filmmaking and your exploration of Caribbean documentaries.

Speaker 2: 6:11

Yes, of course. So yes, spirit of 38 Productions. I was doing my research for Michael Manley the Word is Love, jamaica's Michael Manley and I was reading about the 1938 worker riots in Jamaica and I was like, hmm, 1938, interesting. I was reading some more again that I said, hmm, 1838, the abolition of slavery in the West Indies. I like interesting, 100 years later they rise up again. So like it's 2038 gonna be the next awakening for the for the West Indies and the region. So that's where I kind of got the um idea for the spirit of 38, like that spirit of survival, of standing up for yourself, of, you know, overcoming your challenges, of bringing the spirit of rebellion pretty much.

Speaker 1: 6:56

You know, when I was reading it, as I was sort of alluding to a little bit earlier, I said yes, it's true, you know, it's just, it clicked for me too. So I definitely also want us to sort of sit with and unpack what you had mentioned earlier A little bit of just about the lack of access to documentaries and stuff, films on the region that you sort of had noticed in the early 2000s. I mean, of course you can talk generally just about the fact that there were very few films, but what sort of gaps did you see present in documentaries of the Caribbean that you hope to sort of answer, not just within these three films that we're going to be spotlighting in a moment, but just overall through Spirit of 38 Productions?

Speaker 2: 7:47

just really to get the information out there, because a lot of the um, the, the research materials, or the, the news broadcasts, were pretty one-sided. They didn't tell the full story from the side of um, say, michael manley's side, or shay jagen, or the grenada revolution as a whole. For example, for grenade, I saw a lot of stuff from that came from the Reagan Library. So I was like, okay, this is going to be heavily tilted one direction and not give the full picture, and a lot of books are. Usually they just focus on one side of the story. They don't really branch out further than what their subject is.

Speaker 2: 8:18

I want to create films that were right down the middle as possible and let the people who I interview tell the story. Were, you know, right down the middle as possible and let the people who I interviewed tell the story. And then I go through and um fact check all that to make sure it's at least accurate to what's in the historical record that I can get my hands on. So that's really the gaps is. There's a lot of films that are just most of them are not even to the left, they're mostly to the right, and I just wanted to like bridge that gap where here's a. A film that's like right in the center tells a full story. You, as the audience, can make your decision on it.

Speaker 1: 8:49

Yeah, and I think you know timing, I think, is interesting, just because I think there is definitely a wealth of some more of these sort of materials a little bit available now, right, but I'm sure you know, for the previous generation, these access to even you know some of the radio broadcasts or the TV broadcasts, as you were mentioning, right, the ways that technology has definitely shifted more recently as opposed to you know, even our parents' generations and things to that nature, that access I, I think is really critical and one that we definitely benefit more from now as well. But also it requires us to sort of go back and know about these things. Right, for you, it was your parents sort of shepherding and telling you about Manly, et cetera, right, whereas if you didn't sort of have that, you might not necessarily know where to look. And so I want us to sit with this moment and sort of talk about this trilogy of films that I found really tremendous.

Speaker 1: 9:52

So the documentaries are firstly, the World is Love, jamaica's Michael Manley. Next one, four Years of Love, the Grenada Revolution. And the final one, the Price of Love, chedi Chagin. And so, for you, what was sort of the impetus for you wanting to create these three In particular. You've talked a little bit about Manly but of course, just sort of envisioning this overall trilogy. What was the intention behind putting these three political leaders, situations and politics within the Caribbean, especially because these are all latter 20th century movements?

Speaker 2: 10:28

yeah, first of all, it kind of came together once again, during the research for um the word is love I was just, you know, reading a lot of books on michael, his, his text and um, one biography that I was able to get my hands on, and so, throughout reading about it, I saw pictures of like maurice bishop I think it was a picture taken at the one year anniversary of the grenada revolution, actually and so maurice bishop and michael manley with this. I was like, hmm, maurice bishop, I've always been interested in him because I had a friend who was grenadian and he told me about maurice bishop once or twice when we were in high school. And so, um, I was like, hmm, maybe one day I can make another film on him, but not today. We're focused on michael manley. And so when I got to the end of reading um, a biography, a book on michael manley, it mentioned that chetty jagan had died on the same day as michael manley. So I was like, I was like I know that name. So I went and looked up chetty. I'm like is very interesting. I said maybe I could do him as a third film, but who knows if I'll ever get to that. This is back in 2010 when I started filming. So I was like, maybe one day I'll get all of them. It can be like a trilogy of films I had in my head, and so it's.

Speaker 2: 11:39

When I came up with the title for the film, I was editing the film and michael manley, in one of the speeches within the film, said um, um is. This is a love movement. We're not hating anyone. I don't hate no businessman. This is a love movement. The word is love. So I was like, oh, that's it. That's the perfect title for this film. The word is love. Jamaica's michael manley. So I was like, okay, my dream would be a trilogy of films. It's the love trilogy and it's three films in it, and those are the three films having watched the films right, and understanding the trajectory of your framework.

Speaker 1: 12:07

That definitely adds to sort of my understanding of the way that it came together for you, right, and totally makes sense. When you know we sort of think about the ways that these political figures cross paths. Right, we are a small but mighty. You know little but tallow our region, and so it just makes so much sense that you know your engagement in wanting to understand Michael Manley's history, right, would then also potentially shift into these other movements just at the time, right? Yes, what did you hope to add or change regarding the ways that these moments are memorialized or historicized for us through film like?

Speaker 1: 12:46

I'll share a little bit about what I found captivating in a moment, but I'd definitely be interested to hear from you about your approach to making these films. Um, just because you know you could have done the sort of general Michael Manley was born on sort of thing, right, and it'd be very bland, but I think you crafted it in in really interesting ways basically, I just wanted to tell the the story, the main story of Michael Manley, like a lot of and it'd be very bland, but I think you crafted it in really interesting ways.

Speaker 2: 13:13

Basically, I just wanted to tell the main story of Michael Manley. A lot of people funders. Once I put the film together they were only interested in the 1970s, they weren't interested in the full picture of the man. So I just wanted to give a full picture of this. This is a guy who came from upper middle class roots and pretty much was in a political party that expelled the left in 1954. So he pretty much dragged the party back to the left, pretty much because the PNP was a pretty much center left party, has always been that way until Michael Manley dragged them to the left because in 1954 they expelled, the Marxist left wing of the PNP was expelled. So Michael Manley pretty much in the 70s dragged them back to the left. And I just want to tell the whole story of the man who.

Speaker 2: 13:54

He was not just in office but also out of office and one of the narratives I've discovered this was while filming Four Years of Love, the Grenada Revolution. A lot of the information I read was pretty much. You know, in the West Indies we, like our main leader, like he's the guy, he's the top guy. You know you don't mess with the top guy. Around the Grenada Revolution there was this narrative of Cord versus Bishop Cord, cord ordering the assassination of Bishop this and all these you know, very muddy narratives were around that story. So when I was doing research for that film I was reading a lot of books on what I could find on Maurice Bishop and Bernard Court had just brought his books. So I was like something's not right here. One side is saying one thing, one side is saying another thing. What's the correct story? So I was lucky enough to find another book collection, huge book collection of all every single document that was published for the trials in grenada after the united states invasion, um, all the research materials. They were all collected into collections, books of each individual topic. So I was able to go through that and piece together what was true. So when I went and met b, I was number one. I was shocked of his, his actual, his candor, his honesty and the fact that what he said I was able to actually confirm with historical, accurate records.

Speaker 2: 15:19

So I didn't want to tell people like, oh, you're all wrong in this, but I say this is the facts here. Here is what happened. Here is what Bernard says. Here is what the other record what happened. Here is what bernard says. Here is what the other record says. Here is what the official record says.

Speaker 2: 15:33

Well, you can watch the film and see, you know what the situation was and what happened. It wasn't just one man versus another, it was an inter-party discussion and something strange happened on that day that made them go to the floor. That part is still a mystery for the most part from both sides of the debate. But, um, yeah, so that was one narrative. I wanted to, because in my heart of hearts I do not think bernard court ordered an assassination based on the facts that came out of since then. And yes, that's that's one thing I wanted to like. I want people to take a look at both sides and not just, you know, fix it on one, one side of it. Yeah, I want people to take a look at both sides and not just fix it on one side of it.

Speaker 1: 16:11

I think for me to sort of even add to your point, I was really struck by the range of interviews that helped to not just pit these politicians, or the moment in the decade in which the heights that we know them for, you know, the decade in which the heights that we know them for, right, even thinking to your film, the Price of Love, chetty Jagan, you know, even just interviews with his family right With his daughters, to underscore who he was as a person, as a father, right, these are all things that I really found instrumental in sort of how we capture these histories.

Speaker 1: 16:47

You know, these are all things that I really found instrumental in sort of how we capture these histories. You know, we've sort of been jumping between the films, but of course Michael Manley was, you know, one of Jamaica's prime ministers. The Grenada Revolution walks obviously through the Grenada Revolution, and then Chetty Jagan is the first elected chief minister of what was then British Guiana, but, you know, become eventually, goes on to also become premier and then later president of Guyana in the 90s, and so you've walked for us mastering and the extent of research right, but in terms of sort of your interview collection, what was that process like?

Speaker 2: 17:26

Oh, that stuff was always the fun part. It's finding through, because not everyone is on Facebook, not everyone is on LinkedIn. It's really hard to find people. So, for example, a lot of it comes from word of mouth as well. When I do the film, some participants say, hey, this guy's doing a film, you should really go talk to him.

Speaker 2: 17:44

Like, for example, when I started the Michael Manley film, I could not find any contact information for Rachel Manley. So what I did was I had her books. I'm like let me contact a publisher, tell them what I'm looking for and what I'm doing, and maybe they can help me out. So they actually passed on my email to Rachel and she got in touch with me and then when I showed up that day in Toronto to interview her, she was shocked that I showed up and we had a great interview and she had invited Shirley Goldenberg, whose husband was involved with the negotiations during the sugar strike in Jamaica, and so she invited her to the interview session so I was able to interview her. She asked another couple of people she knew around the Toronto area who were involved with Michael Manley, philip Maskell and a couple others, and so she reached out to them to get me in contact with them so I can interview them as well. So that's what happens a lot of the time. For example, same with Chetty Jagen, the Chetty Jagen Research Center in Guyana. I contacted them because I was having trouble finding anyone for this film and I contacted them and so it was actually Nadera who answered the email. I didn't expect, I didn't think it would be her, and so she got me in contact with everyone in that film they had set up the center in Georgetown. For that week that I was there filming, they had set it up so I could actually go and film interviews there, which was a huge help because normally I'm running around from place to place, especially in Jamaica. My cousin Jerry Shout out to Jerry, he's also listed as an executive producer on the Michael Manley film because he drove me to every location when I was in Jamaica because he lives out near Fort Littleport, montego bay area, like that, just on the border, the two parishes. So we would be driving to kingston doing interviews this day. Driving to um up into saint anne, we had to do interview arnold bertram and we got lost going up in them hills. We didn't know where we were going. It was so funny, um. So, yeah, that's, that was the challenge.

Speaker 2: 19:50

The challenge is actually getting to the location, sometimes to film people, and also actually finding people that are. You know, some people might not, may have passed away by now. A lot of people, for example, that initially tried to contact for chenny's film, they had passed away or they're in, like you know, advanced age, so they're they might be suffering from, like you know, decline in of um mental facilities because of age. I've been lucky enough to contact one person and then they let other people know, for example, um for the michael manley film, um anthony bogues, who's actually a professor.

Speaker 2: 20:23

He was a professor at brown. I don't know if he's still there, but he was. He was there when I, when I interviewed him, he had put me in contact with um Patsy Lewis and Brian Meeks because they were also professors there. So that day was really fun. I was running all over campus with because it's me by myself with all my camera gear, lights, the camera bag, just like a madman, trying to get to the different locations. So that's usually the challenges. Is um being a one-man film crew. I schedule the interviews, I film the interviews, I edit the films, I put the films out.

Speaker 1: 20:54

I'm like the whole thing is pretty much like my drive and um passion for sharing these, this history, with the people, with the world definitely, I think, for you know, particularly talking about manly um, bishop and jagen, if we want to put them together right, we can draw certain similarities, whether that be their, you know, political ideals, as sort of like Marxist and socialist and things of who these three figures were for the Caribbean, especially our sort of move into post-colonial Caribbean history. What did you find sort of distinguished them apart as leaders and as individuals?

Speaker 2: 21:38

Distinguished them apart from where, from who?

Speaker 1: 21:41

From each other.

Speaker 2: 21:42

From each other. Yes, that's a really good question, because there's a lot of similarities. I think what separates them is time is a big separation, because each of them had their struggles at different times and and they each went through pretty much the similar things. If they may I don't know maybe they could all get on a phone call and talk to each other. At one point they could sort it out. But same struggle, different time, is pretty much what it is. Differences of approach would also be. Well, obviously, the Grenada Revolution was a revolution. They just, you know, eric Gehry left. They were like yeah, all right, we are now in control, we're taking over. This is our revolution. That's a big difference. The Grenada Revolution came to power obviously through a revolutionary means. Chetty Jagan and Michael Manley both came to power through electoral processes. Yeah, I think that's really like for the differences I can't really see much. I mean because there's a lot more similarities than there are differences, you know.

Speaker 1: 22:45

For our listeners who might be unfamiliar. Do you want to share some of those similarities?

Speaker 2: 22:50

all three of them are very much, um, left-leaning politicians. So michael manley, he was not a communist. I don't know, I mean, they're jamaican. I like to put the communist bogey on everything michael manley was. He was not a communist, he was pretty much a devout socialist, I would say not far left, but he's a left socialist, more left than the PNP party.

Speaker 2: 23:08

Actually, the Great Air Raider Revolution that film actually deals with the whole story. Because I'll tell you a little bit about when I was making that film. I was initially going to make the film on just Maurice Bishop and then I realized I said no, this whole story is much bigger than just one man, this is like a whole, it was a collective thing. So I had to tell the whole story of the whole group and, collective as it is. So you know, that's a group of people they came, who came to power through revolutionary means and um, chetty Jagan was elected.

Speaker 2: 23:39

Chetty Jagan was a Marxist, proud Marxist, never wavering in that, to the very end, uh. But of course he saw you know it's not dogmatic he saw that he had to adapt marxist principles to guyana's situation and that's how he um was able to, you know, still maintain, I don't think the party itself is a marxist party. It's a left party, but chedi jakin himself, I know, is a Marxist. They may have Marxist, leninist identity, but I don't think most of the party members were that far as Chetty was himself, so that's really the similarity between them. They're both left-leaning politicians. All together they represent our drive and desire for self-determination, getting their nations out of colonial dependence and actually approaching the world and working with the world on their terms and not someone else's terms, for the betterment of the people actually who live there and not just companies that come in and use the resources.

Speaker 1: 24:43

Certainly, the other piece that you know I found interesting in terms of just the ways that some of these stories are told, is the music that's chosen and all of these other sort of additional features that sort of help to round out the time period right. And so I'm always interested in hearing from people what are those sort of ways that these histories show up in popular culture that you found intriguing right, be that a song, be that. You know you also mentioned some of the books, the autobiographies, etc. So what are those things that are sort of stand out for you for listeners who, after they definitely go and check out these films, would like to sort of do some further research?

Speaker 2: 25:28

Yeah, I mean especially reggae music of the 70s that's heavily influenced by the political climate of the time. And there's some artists out there like Max Romeo Because in Jamaica the whole bandwagons came along with the politicians as they traveled through the country spreading the the message, trying to get people out to vote and so artists like bob marley, peter tosh, you know the wailers bunny wailer maybe not, maybe that bunny buddy, but he was pretty much opposed to it dealing with any of them but definitely peter tosh and bob marley were known um at early supporters of michael manley at that time. I won't say the pnp, but I said michael manley's vision for j Manley at that time. I won't say the PNP but I'll say Michael Manley's vision for Jamaica at that time. Definitely their music is definitely very heavily influenced by the political climate of the time. For Grenada, I would say there's not much that I was able to find in pop culture that alluded to that. It was very, very hard to find information that's not skewed to the right. It's very obvious that it was very, very hard to find information that that's not skewed to the right. It's very obvious that it's very conservative literature or like news clips or things like that that were put out by like us news stations at that time were very heavily um skewed to some false narrative.

Speaker 2: 26:41

And for chedi um, there is an upcoming um biography coming out on chedi jagen. They are working on that right now. They released a lot. There's a film on janet jagen that's actually really good um. It's called thundering guyana. It's um. It's about the story of um janet jagen, which is chedi jagen's wife and um. You can learn about her, her side of the story, more from that film. Um and, of course, learn learn from from Jenny's side from my film. But yeah, if you want to learn more, you can watch Thunder and Guyana to get Janet's side of the story as well.

Speaker 1: 27:13

I love filmmaking and I love, you know, unpacking, as we've done our conversation today the impetus, the journey of creating a film, right, and I think sometimes we think of it as being a very onerous process or that it has to. You know, it has to be on some big event or whatever, right, when you know we can make documentaries on our own families, or you know our grandparents stories, et cetera, right, and so what advice would you have for our listeners who are maybe interested in pursuing sort of whether it's similar sorts of documentary work or, you know, whether that be on major movements and figures or even just on their own familial and personal stories?

Speaker 2: 27:58

Well, I think that the number one thing to do is to actually just start do it like no matter what it takes. I mean you, the money is a lot. It does take a lot. Um, for example, when I started out, I don't have much more money at this moment in my life, but when I started out I had less.

Speaker 2: 28:17

But you know I would starve. Not like stuff like, oh, I'm gonna pass out, I'm not, you know, I'll just cut back on food. So I eat very basic stuff. Save as much money as I can, just to get the process going, because just to keep the drive going, just to keep the passion good, if you, if you really feel it's something you want to bring out to the world, just just go with it. People will appreciate it in the end. Yeah so, but the thing is just to start. That's the hardest part is just to start. But once you do, just just don't stop. Just keep going until you can make it happen, you know certainly.

Speaker 1: 28:49

I mean, I agree, um, it's one of those things that you know, just you sort of have to just jump in and try. Um, but you know, I cannot recommend enough. I think this trilogy of films are so deeply ingrained into I I just cannot commend you enough for the, I think, tremendous work that you've done. Right, um, you definitely get unpackings of these movements, or um, you know, political figures in really integral ways, and I, of course, will be sure to link them on our website and also in the show notes for our listeners who want to check them out. And so, again, the films are the World is Love, jamaica's Michael Manley, four Years of Love, the Grenada Revolution and the Price of Love, chetty Jagan.

Speaker 1: 29:34

So, richard, thank you so much for, you know, being a part of the Strictly Facts, as we've been talking about films and filmmaking, and again, for our listeners, check out these trilogy of films because I think they're just beautifully done and readily accessible for us. There's no, you know, giant hurdles and things for you to check out. They will be linked on our website and in our show notes. So till next time, look more. Thanks for tuning in to strictlyrictly Facts. Visit strictlyfactspodcastcom for more information from each episode. Follow us at Strictly Facts Pod on Instagram and Facebook and at Strictly Facts PD on Twitter.