I survived one year doing it, and the second year [at New York University (NYU), New York, New York] I went to my film teachers, Beta Baca [ph.] who was my camera teacher and Ian Maitland who was editing and I said, "Guys, I gotta make a choice," because they said, "Are you going to stay in film or you going to stay in theatre?" Everybody, both departments were wide open to me and both of them said, "Oz [HistoryMaker Oz Scott], get a good editor and get a good DP [director of photography]. They can help you learn the camera. They can help you learn the techniques that you need." Beta said, "Come and take my color emulsion class, I do it five weeks, five, five seminars. After that, he said, you can learn the camera within a year or two. It's going to take you a lifetime to learn the actors so it's best to start now." And so I stayed in theatre. I mean, that and the fact that theatre program, to get a master's [degree], was a two-year program and film was a three-year program, I figured, two years, and I thought it was very good because I, it was learning the actors, it was working with actors which I still think is a very strong element to my directing. So, so the second year I was doing a lot of stage managing for Joe Papp [Joseph Papp]. I did a play by Miguel Pinero called 'The Sun Always Shines for the Cool' which becomes a whole another story because I got a, I was hanging out with Ifa [Ifa Bayeza], guess what her name, at this, now her name is Ifa Bayeza, who's [HistoryMaker] Ntozake Shange's sister and Ifa introduced me to Ntozake and Ntozake, and Ifa said, "Why don't you take, why don't you give Oz your poems and let him make 'em into a play." And so Ntozake gave me her poems and we set about making them into a play. I said, "Zake, I will make them into a play but you have to get me a venue. Get me a venue, I'll give you a award-winning play." I was very cocky back then and she came back to me the next day and she had gotten a bar on the Lower East Side [New York, New York], a Puerto Rican bar on the Lower East Side without a door between the back room and the bar where they served the fried chicken and they, it was like a block up from where Slugs' [Slugs' Saloon] had been on--in Alphabet City [New York, New York] and we did--Del Monte's was the bar, and we proceeded to do 'For Colored Girls' ['For Colored Girls Who Have Considered Suicide / When The Rainbow Is Enuf,' Ntozake Shange]. That December, we had two, she had gotten two Saturday nights--.$$Now, now what year is this?$$This is 1975.$$Okay.$$I graduated NYU in 1974 and, I mean, so we ended up doing the first part of 'For Colored Girls' in 1975, December.$Cut to the bus. Again, this is all made up. I don't have a clue what, what's going on. I don't know what I'm doing. I'm just saying, okay, let's try this. The words Richard [Richard Pryor] is coming up with on the spot. I'm just--again, this is sort of like 'Dreamland' back in New Orleans [Louisiana]. I'm coming up with, "Here's the situation, I don't know what you're going to say, but here's the situation." So, it turns out, I had the blind kid sitting in the front seat and Richard pulls the, has the Klansman come on with the hood and the Klansman comes on, Richard comes on behind, and I said, "Okay, oh, I got it, I got it, I got it." I told the blind kid to reach up and grab the sheet off the Klansman and pull it off, de- defrock him; and I said, "Richard," and then I said, "all the kids, you're all blind." And so, so Richard started, he said, "Okay," he, he's like, they start, and he said, "They're blind, they're all blind, they're all blind," and he gets the Klansman off, you know, off the bus and at this point I, I was lost. I said, "Richard, I don't have a clue what you're going to say now. Say something to him, but we've got the scene. I can cut the scene this way," and Richard right there, on the spot, without, was not the night before, we just, I just created that scene right there on the spot. He said, "We're on our way to the Ray Charles Institute for the Blind to get that miracle operation. They've been running it on the Oral Roberts show, and I know they run it in your area," (laughter) and I had this old stuntman as playing the Klansman and he said, "Okay, get back on the bus, get on the bus; we'll give you a push." And Richard looks at him, and this is Richard, and he just says, "You're a great American and great human being. Thank you," and he gets on the bus. The place falls out. The crew is just rolling. I mean it's just a brilliant, brilliant moment and I said to Richard, "Do it again." Richard goes off. "Oh, Mr. Director wants me to do it again. Oh, I'm going to do it again because Mr. Director wants me to do it." And he was furious because he had got it. He knew he had nailed it. So he gets on there, he does the same line, "You're a great American and a great human being," and then he grabs the Klansman by the head and he pulls him to him and gives him a mouth-to-mouth kiss; and the poor Klansman you could just see him, the actor went (makes sound) (laughter) and Richard gets on the bus and the place just, I mean, it erupted with applause. It was just, and Richard turned to me as he walked off the bus and said, "So you knew, fuck you," and he walked to his (gesture)--what I knew was he had to top himself. I didn't know how he was going to top what he had done, which was already brilliant, but he, he did it, he topped it. There are scenes in the film where I have told Richard, when he's walking off the back of the bus, I said, "Oh, Richard, I got this idea, this is great. When you go to get the, I want you to go off the back of the bus," and I said, "somebody give me a shovel, give me a shovel." So I started digging a ditch and I poured water in it and mud and I said, "Richard, when you jump down, you're going to go down into this water and you're going to fall and you're going to flop around and you're going to be all--." "Oh, and you think that's funny. The, I'm going to fall in the mud. You think that's funny." Richard walked, he's walking down the bus talking about, "F him, F you, F you," (makes sounds) and he was talking about me. I kept it in the film. I'm like, and he goes off and he does the whole flopping around and he's great. He's just, you know, so, 'Bustin' Loose' we did that. Richard burnt himself up. Scenes were shot after they were in the film; and that's 'Bustin' Loose.'