There was a time in Hollywood when you had to work for your pay. Like Ray Charles on the Chitlin’ circuit, comedian Robin Harris was one of the final few that exist of that era.

Produced and directed by Topper Carew; responsible for television shows like Martin, Topper documents the life of comedian Robin Harris, by incorporating family and friends in his dynamic storytelling style which he includes other comedians that applaud the Harris’ work before-hand; such as J. Anthony Brown, Martin Lawrence, Cedric the Entertainer, Bernie Mac, D.L. Hughley, Robert Townsend and more..

In the early stages of his career, Topper ventured into the world of management and Robin Harris was one of his first clients. Developing a personal trusting relationship is Key and Carew demonstrates the bond he valued in knowing Harris through this feature length documentary.

When the world wasn’t so anal about fame and fortune; and no back drop or stylish band could save you from the depths of ‘hells audience’; is where Robin Harris laid his ground work. Playing where he could was the only option until he ‘proved’ himself to the gatekeepers that would finally let him free to elevate one day but not soon enough for funny man Harris who died all to soon leaving a ‘familiar unanimous’ mark on the world.

We may forget his face but we instantly remember him when we hear his voice, his laughter and he’s lines: We Don’t Die; We Multiply.

Robin Harris is the original king of comedy and Topper explains why.

What forced you to do this DVD now?

Topper Carew: So I started this whole new enterprise called ‘Urban Neo’, the idea is to revisit and revitalize values and ideals that were very important in the African American community in the 60s and 70s. I thought the first project that I would do under that banner would appropriately be Robin Harris because he was also my first management client. He was an every man. To me he felt like something I grew up with; a friend or a cousin. His comedy as you might know never uses the N word; never uses the MF word. And is about the life and times of every day people in South Central Los Angeles; where he ate, where he lived, where he grew up, where he sent his kids to school. It shows South Central in a different light. Where people live, go to church, have jobs and aspirations. He represents something other than the gangster videos and so much of what has characterized South Central. The Robin Harris film is about a man who did it on his terms rather than being sanitized by Hollywood he was himself. In the film the comics say he was their Moses even though he did not get there to see it himself. That he opened the door for them and that many feel they have a career because of Robin Harris. He was not the typical pretty boy; he was Robin Harris who was shorter, a little bit overweight, had a chip tooth, had bloodshot eyes and spoke in a vernacular that wasn’t always English appropriate but it was him. I was surprised and remarkably pleased when I embarked on this journey because I didn’t know how much people loved Robin Harris. I was convinced that I should commit to it personally. I was committed financially and time wise to make this project which is intent on making sure it plays in our history; that he has his space in our comic history. But more important I think that he’s even more than that.

When you invited Spike Lee to see him, were his intentions to be in a film or…?

Topper Carew: Spike Lee had heard about Robin Harris and wanted to see him with the intention of possibly casting him in a film. As you know Robin went on to do 3 films with Spike Lee. Spike Lee admiration of Robin is most recently expressed in the… Inside Man just came out on DVD. Spike Lee and Denzel Washington talk about Robin Harris for 10 minutes in a DVD chapter that’s attached to the Inside Man. Spike Lee is a huge Robin Harris man. Denzel Washington is a huge Robin Harris man. Spike wouldn’t write for him, they would just let Robin go.

How easy or difficult was it to get file footage on Robin Harris? Is there more out there that we haven’t seen?

Topper Carew: There is almost no more footage of Robin Harris. Luckily I had some and another guy had some.

Why is that?

Topper Carew: Well no one really shot him at the comedy act theatre when he performed. Who knew? No one captured his last concert on videotape.

That was 1990 right?

Topper Carew: 1990. 2500 seats sold out in 20 minutes at the Regal Theatre.

Like so many other comedians that don’t get the recognition they deserve; Robin Harris fell into that category. Why did that happen? And why do black audiences let that happen?

Topper Carew: Often times we wait for others outside of our community to acknowledge our people. We don’t always set the value but we see the value. Robin is our phenomenon. Our cultural hero. Our treasure. Here is his history. It exists forever now. Even though we didn’t get it then we get it now. Sometimes it’s hard to recognize [others] values.

At what age did he start his comedic journey?

Topper Carew: He went away to college on a track scholarship. In his sophomore year he came home and told his parents that he decided he was going to pursue a life of comedy. He was about 20.

That must have been a joke to them?

Topper Carew: That was his first big joke and it didn’t get a big laugh. And then he started working in places like bowling alleys. He worked any place he could. If you go in the street and people don’t remember the Robin Harris name and you say House Party or Bebe’ kids, people say oh yeah. There are people out there who can recite his jokes, who know his routines word for word for word. He was like a teddy bear coming at you. He was dogging you; he was having fun with you. He’d make you laugh at yourself.

Talk about Robin Jr.

Topper Carew: Robin Jr. looks like him. Walks like him. Talks like him. Wants to be an entertainer. Got a little bit a sense of humor in him. Was in the wound when Robin died. The film became very cathartic for him because he had no idea about how people thought about his father. People loved him and revered him and he had not a clue. And he had never really sat down to study his father. It was a powerful moment for him. It was also a powerful moment for his wife, because she had said before this film she had never addressed her grieving. And it’s been 16 years.