GZA, Monty Ross, and the Making of Liquid Swords

Monty Ross is an actor, producer, director and co-founder of 40 Acres and a Mule Filmworks, with Spike Lee. In addition to his long film and advertising work with Spike, Monty Ross also worked with various members of the Wu-Tang Clan throughout the mid-1990s and produced all of the videos for GZA’s 1995 solo album, “Liquid Swords.”

Because of Supreme’s “Liquid Swords” t-shirt and beanie release for their FW18 line, we spoke with Monty Ross about working with GZA and producing the videos.

Below is a transcript of our exclusive interview, which has been lightly edited for length and clarity.

StockX: How did you meet GZA? 

Monty Ross: I met him through his manager, Geoffrey Garfield. At the time Garfield was producing a video for GZA and needed production insurance because they couldn’t get the equipment they needed. So I let them use mine. They got the equipment and shot what they needed. They called me back and asked me if I wouldn’t mind producing the “Liquid Swords” videos. I said sure.

Did you listen to “Liquid Swords” before shooting the videos?

Yeah. His manager got me the cassette tape. I listened to it; I loved it.

His manager got me the cassette tape. I listened to it; I loved it. 

What did you think was the meaning of “Liquid Swords”? 

I knew the meaning of “swords.” I knew the whole story of Shaolin and everything. I gathered that “liquid” had something to do with his rhyming style, his flow. I chose to thik of it as a metaphor that highlighted his ability as a lyricist.

When did you meet GZA?

I met GZA in Brooklyn to go over the video contracts and discuss the budget for the videos. I went over to his apartment and hung out with him and we just talked. He was just mad laid back. He was real quiet; he was really quiet.

He gave me the backstory on the group, they were all family, at the time people didn’t know that they were all cousins. So I got that story and I was impressed.

Were you a fan of the Wu-Tang Clan before “Liquid Swords”?

I was really in awe because the Wu-Tang Clan was one of my favorite groups. So it was great to be able to work with him.

One of the things about Wu-Tang and one of the things about hip-hop back then was it was all about how different you were. We all knew what hip-hop was and embraced it, but every year we were all looking for the new group. We were looking for the new sound. You know, somebody was going to come up with something to push the culture forward.

Fans also appreciated the Wu-Tang business model: it was all about family. I remember the success of the group propelled the industry to offer members their own individual albums. RZA made sure that each individual record was produced under the umbrella of Wu-Tang. Loved it, man. Loved it.

One of the things about Wu-Tang and one of the things about hip-hop back then was it was all about how different you were.

What was it like working with GZA? 

The concept for the videos came from GZA, Garfield, and Stephen, his Director of Photography (DP). The concept of the video would come in, I’d either get a phone call or a fax. For each video, the basic production process required a break down of the treatment to determine the look, location, and visual concept. Once we had the location secured GZA prepared a shot list. And then Stephen added the feeling to what GZA wanted.

What exactly did you do as a producer?

I had the contracts because I was the producer. I had the insurance, as well. One of the things I did was I had a really great location scout and a great group of people that did my production lighting and sound. I made sure all the vendors got paid, the crew got paid, and took care of the Wu-Tang Clan for each one of these videos.

My side story? Oh, boy, this was the deal: I was still at 40 Acres and Spike wouldn’t allow any outside video work whatsoever. But I wanted to work with Wu-Tang! So I had a driver, my man Martin, and I would have him pick me up every night at 6 pm. I would leave the office, go around the block, put my seat all the way down, and we would drive off to a location or pick up some equipment or whatever. Once I was in Manhattan or at a location, I would move my seat up. Literally, I would finish production and then go back to the 40 Acres’ office in Brooklyn in the morning.

I was still at 40 Acres and Spike wouldn’t allow any outside video work whatsoever. But I wanted to work with Wu-Tang!

Did Spike Lee ever find out?

I didn’t say anything! I was just totally concentrated on 40 Acres work during the day; I just didn’t say anything!

What do you remember about shooting the videos?

We did four total. Each video had its own stamp. The first one, featuring RZA, was “Liquid Swords.” That’s the one with the big clock on the ground. We were in a huge schoolyard in Brooklyn late at night and we had this huge clock. We started at 6 pm and we didn’t wrap till 6 or 7 am.

When we shot “Shadowboxing/4th chamber,” that was in the basement of a church up in the Bronx. That one was the hardest. We had a limited budget and GZA wanted a lot of effects. He wanted to stage this whole battle, so the production value was astronomical. There was a whole military operation! So we really had to cut a lot of corners to get everything in there. Luckily, when it all came together I was really impressed. It is still one of the best videos to come from the Wu-Tang camp.

It is still one of the best videos to come from the Wu-Tang camp.

When was the last time you talked to GZA?

The last time we talked, he came by the house and handed me a plaque. “Liquid Swords” had gone gold and he wanted me to have it. He came to the crib, I came downstairs, sleep still in my eyes, and he was like, “Yo, wake up! I wanted to give you this, you were a part of making all this happen.” I was so happy, I was like a kid, man!

What do you remember most about making the “Liquid Swords” videos? 

I had a huge adrenaline rush back then. It was a New York production! Working in the film industry you have a schedule, 12 hours on and 12 hours off. But with videos, it was just crazy energy. Videos were where it was at, man! Videos and hanging out! Especially in New York at that time.

I always like hanging out with new emerging talent, it was fun! It gave me the opportunity to be young again. Wu-Tang was out there making movies, having fun, pushing their careers. I wanted to be a part of that shit. It just took me back to when Spike and I started making movies: It’s just you against the world and you didn’t have a lot of money, but you have a lot of passion. For me, it was an opportunity to work with young, passionate artists.

Anything else that you remember from that era?

So the east coast versus west coast battle, whatever that was, was in full swing. I remember one day when Ol Dirty Bastard came out, we were filming in a movie theater. Ol Dirty Bastard got on somebody’s phone and was talking to Suge Knight. He was on the phone saying, “The Wu-Tang clan is ready to do this, we’re ready to come out there and do this. We’re ready to do whatever, man.” And you could hear Suge Knight telling Ol Dirty Bastard to calm down, that nothing was going to happen.

Ol Dirty Bastard got on somebody’s phone and was talking to Suge Knight.

Why do you think Supreme decided to use “Liquid Swords” 23 years after the album dropped? 

I think the resurgence of what’s quality, what’s authentic, and what’s true is resonating right now. A lot of adolescents are looking for what’s true right now. There’s more out there than just Nicki Minaj and Cardi B fighting. I just believe some companies are looking to reconnect kids with something that has a little more truth to it. Will it translate to greater sales? If it’s done right…maybe.