Neus Flores
On a bright morning, acclaimed filmmaker Stanley Nelson sat down with journalist and fellow director Neus Flores at the stylish Hotel Jazz to talk about his latest documentary, We Want the Funk, recently showcased at the In-Edit Film Festival in Barcelona.
Surrounded by the city’s creative pulse, their conversation flowed through music, filmmaking, and the universal power of #rhythm.
The exchange was as lively as the film itself—filled with laughter, reflection, and soulful insight. You can also listen to the full interview on the iVoox #podcast platform, where their dialogue unfolds in its most spontaneous and authentic form.
1. How did you come to be a film director?
In the 1970s, I was exploring different paths and trying to figure out what I really wanted to do. Eventually, I took a film course that completely changed my direction. I switched my major, went to film school, and ultimately graduated in filmmaking. That’s really where it all began.
2. We Want the Funk is a vibrant documentary we recently saw at the In-Edit Film Festival in Barcelona. Did you already know the people who appear in the film?
Not really. The only person I knew beforehand was Marcus Miller, the incredible bassist. I met him five or six years ago. But the rest of the participants were new to me—I met them through the process of making the film.
3. You’ve won Emmys, been nominated for an Oscar, and even received a National Humanities Medal from President Barack Obama. Are awards part of what drives you to make documentaries?
No, not at all. The accolades are wonderful, but they’re not the reason I make films. They’re completely unexpected and have nothing to do with my #motivation. I make documentaries because they’re powerful. They can shift perspectives, challenge assumptions, and #inspire people to see the world differently. That’s the real reward—when a film sparks change.
4. When it comes to music, how did you choose from so many iconic funk tracks over the years?
Every track in the film serves a #purpose. Naturally, James Brown and Parliament-Funkadelic are essential to the story of funk, so we wanted to feature their most dynamic and representative performances. For James Brown, we selected some of his best archival #footage.
We were fortunate to find almost everything we needed. In some cases, the #lyrics themselves guided our choices—like with We Got the Funk. It’s probably the most famous funk #anthem, and it embodies what we wanted the film to do: get people moving, smiling, and feeling the groove. It’s a song that makes people #dance all over the world.
5. How did you feel about the audience’s reaction at the closing gala of In-Edit?
It was incredible. The screening was in a thousand-seat theater—the largest we’ve shown the film in so far—and it was nearly sold out. It was our European première, so we were curious to see how the #humor and rhythm would translate outside the U.S.
At first, my wife and I thought people weren’t reacting to the jokes, but by the end everyone was on their feet—cheering, clapping, and dancing. It was amazing to see how music #transcends language and culture. Afterward, so many people came up to us to say how much they loved it. That kind of response is truly special.
6. How was it directing the film together with Nicole London?
Nicole and I have collaborated on several projects, including Miles Davis: birth of the cool, which was also shown at In-Edit a few years ago. She’s an incredible researcher, a brilliant interviewer, and she has an unshakable #calmness that balances my energy on set. I can get a bit intense while filming, but she keeps everything grounded. I’ve honestly never seen her lose her composure—she’s smooth, focused, and a real joy to work with.
7. Do you have any memorable anecdotes from the production?
One highlight was definitely meeting George E. Clinton of Parliament-Funkadelic in Florida. He was generous with his time—funny, insightful, and full of stories. You know, that band was known for its wild #costumes and performances, but what people often don’t realize is that it was all intentional. George designed that image to make the music #unforgettable, and it worked. Getting to spend time with him was an incredible experience.
8. Are you planning to shoot in Europe in the near future? And what new projects are you working on?
Not immediately, but we do have a few projects in development. One focuses on African art, another explores the history of Harlem, and we’re also developing a four-part series on the Atlantic slave trade—which will include filming in Europe. We’ve been working on that series for nearly a decade, and production is scheduled to begin in 2026.
9. What advice would you give to film students?
Watch as many films as you can. If you’re in film school, make films—no matter how short—and #finish them. You need tangible examples of your work. Just as a writer has stories to show, a filmmaker needs completed projects.
Surround yourself with cinema. Take notes on films that people recommend and go watch them. #Immerse yourself completely.
And learn the tools. A director should understand editing, sound, and camera work. The more you know about the #craft, the stronger your storytelling will be. In film school, we did everything ourselves—shooting, editing, even working with film negatives. It was total immersion, and that experience was invaluable.
Our heartfelt thanks to Stanley Nelson for his time, generosity, and inspiring conversation about the enduring power of music and #storytelling. His passion for film and history continues to enlighten and move audiences around the world.
You can follow Stanley Nelson on social media to stay updated on his latest projects:
📸 Instagram: @firelight_media
🌐 Website: www.firelightmedia.tv
Connect with Neus Flores for more interviews and film insights:
On Makma.net
On Núvol.com
📸 Instagram: @neus.flores
