‘This Isn’t Just a Side Project—It’s the Next Phase’: Logic on His Filmmaking Ambitions and ‘Paradise Records’

“I want to make movies more than anything. I won’t let anything stop me.”

At the 2025 Tribeca Festival, Paradise Records took center stage as one of the most talked-about premieres—earning standing ovations, buzzworthy write-ups, and a spotlight for an unexpected new voice in film: Grammy-nominated rapper Logic (aka Bobby Hall). As the creative mind behind the film’s lo-fi aesthetics, raw humor, and deeply personal themes, Logic’s debut marked a bold pivot from music to moviemaking. Our chief critic, Jonathan P. Moustakas, sat down with him for an in-depth conversation just hours after Tribeca officially wrapped, with the buzz from the film’s second sold-out screening still reverberating through the festival crowd. “I want to focus on being behind the lens,” Logic tells us with quiet intensity.

An idiosyncratic blend of lo-fi surrealism and referential wit, Paradise Records feels like a love letter to the spirit of American indie cinema, echoing the idiosyncratic charm of early Kevin Smith, the structural experimentation of Quentin Tarantino, and the narrative reflexivity of Charlie Kaufman. Filmed entirely on a modest budget (self-financed by Logic), the movie blends surrealism with emotional honesty. “Bit of both,” he says, when asked about its tone. “I wanted to write a day in the life of these characters—really simple. And then wild stuff started happening. So it kind of became vignettes, like skits, but each scene still builds out who they are.”

The structure borrows from Logic’s musical past—each sequence feels like a different track on a mixtape, with shifting tones and genres. But it’s held together by a deep sense of place, a recurring cast of characters, and a sincere undercurrent that rewards viewers looking beyond the satire.

“I spent millions on this film—of course I’m going to watch it,” he laughs, referring to why he stayed through both Tribeca screenings. “I love watching how people react. Each audience has a different rhythm. Some laugh early, some go quiet during the serious stuff. It’s like performing live again.”

Inspired by filmmakers like Hal Ashby, Spike Jonze, and even Kevin Smith—who makes a cameo in the film—Logic’s cinematic voice is refreshingly unpolished but fully realized. “I love that I’m building my own crew now,” he says. “But someone like Ryan Coogler? I’d learn so much from a guy like that.”

As much as Paradise Records plays with meta-humor and tonal experimentation, it’s also a deeply personal film. Logic doesn’t shy away from vulnerability, exploring themes of artistic identity, failure, and perseverance. “This isn’t just a side project,” he says. “It’s the next phase of my career.”

He describes his next concept as “Vanilla Sky meets Being John Malkovich meets Friday,” adding that the film’s lead will be played by himself. “I have to be in that one,” he admits. “It’s like Curb without Larry David. You can’t do it without that central voice.”

As for distribution, Logic remains pragmatic but hopeful. “I love theaters, I love cinema,” he explains. “But I want as many eyes as possible. I’ve gotten offers, which is amazing, but I’m figuring out what’s best for the film and the audience.”

The biggest revelation of the interview might be how close Logic came to skipping the festival circuit altogether. “I didn’t get into Sundance or SXSW. I was ready to book the Chinese Theater in L.A. and just do it myself. Then Tribeca called—I cried. They saw something in this. I’ll never forget that.”

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For an artist who’s known success in music, books, and now film, Logic’s evolution is not just another celebrity creative dabble—it’s an intentional, committed leap into storytelling through new mediums. With Paradise Records, he’s laid the foundation for a cinematic career defined not by past accolades but by future ambition.

In the aftermath of Tribeca, it’s clear that Logic isn’t just dabbling in filmmaking—he’s laying down roots. Paradise Records is less a one-off experiment and more a declaration of intent. His cinematic voice—earnest, referential, and defiantly original—feels forged not in studios but in the quiet confidence of someone who’s watched, studied, and now dares to contribute to the medium he loves. With his heart on the screen and his sights set on the director’s chair, Logic isn’t asking for permission—he’s taking his seat at the table. If Paradise Records is any indication, we’re only witnessing the prologue of a career that could reshape what it means to transition from music to movies. As Logic told us, “This isn’t just a side project. It’s the next phase of my career.” And from the looks of it, that phase is just beginning.

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Full Interview Transcript

By Jonathan P. Moustakas | The Cinema Group | Tribeca Festival 2025

Paradise Records (2025) / June 15, 2025 | 1:28PM

JONATHAN P. MOUSTAKAS:
Logic, congratulations on Paradise Records—it had a great showing at Tribeca this year. I have to ask first, do you prefer Bobby or Logic?

LOGIC:
Oh yeah—for press and stuff like that, Logic is fine. Any other time, feel free to call me Bobby when we’re not at work.

JONATHAN:
Fair enough. The film really felt like a visual mixtape—almost an anthology that’s intentionally messy but lived in. It has a different tone from your musical work. Are you trying to establish a specific voice or vision in film?

LOGIC:
First of all, thank you. And thank you for your write-up—it was so beautiful. That’s why I wanted to reach out. And yeah, we’re recording, right? Cool. I’ve never done anything like this. Your words really meant a lot. The reviews have been overwhelmingly positive—some people might not get it, and that’s okay—but yours stood out. You know, there’s this Alan Watts quote I love: “Anything you could be interested in, you’ll find others who are.” Your tweet was so poignant—it made me feel like this film has an audience. People want to see it, and they want to see it together.

JONATHAN:
You mentioned distribution earlier. Is a theatrical run something you’re hoping to secure?

LOGIC:
I love theaters, I love cinema. But for my first film, I want as many eyes as possible. So whether that’s a streamer or not, I’m focused on getting it to people. I’ve gotten offers, which is amazing, but I’m figuring out what’s best for the film and the audience.

JONATHAN:
You really captured that sort of hangout-movie energy we grew up on, but with a new flavor. Did you intend for this to be structured like a mixtape, or did that happen naturally?

LOGIC:
Bit of both. I wanted to write a day in the life of these characters—really simple. And then wild stuff started happening. So it kind of became vignettes, like skits, but each scene still builds out who they are.

JONATHAN:
You collaborated with Kevin Smith here, and there’s definitely a nod to Jay and Silent Bob in one scene. You’ve worked with folks like J.J. Abrams and Eli Roth. Is there anyone else on your list of future collaborators?

LOGIC:
For sure. I’d love to meet Ryan Coogler. He’s got that younger-gen energy, but he’s a student of film, and I really respect that. I’m kind of building my own crew now, which is cool, but yeah—Coogler is someone I’d love to learn from.

JONATHAN:
At the second screening, you said this feels like a new chapter for you. Going forward, do you plan to keep mixing music and film, or would you rather stay behind the camera?

LOGIC:
I really want to focus on being behind the lens. My dream is to be an auteur—write, direct, maybe take on a script like Fincher did with Fight Club. But yeah, if it calls for it and I have a track that fits, I’ll use it. I love music, so it’ll always be part of me. But film is my main focus now.

JONATHAN:
Will you keep acting in your own projects, or was that just for this one?

LOGIC:
The next film I want to make—imagine Vanilla Sky meets Being John Malkovich meets Friday—I have to be in it. It’s like Curb without Larry David. So I’ll star in that one. Maybe one more. But overall, I prefer writing and directing. I remember sitting in the makeup chair and the artist said, “We’ll see what you like more.” She wasn’t wrong—I love directing more.

JONATHAN:
I noticed you sat through your own screening, which is rare. Most actors hate watching themselves. Is that hard for you?

LOGIC:
Nah, I’ve seen myself for years—music videos, interviews. I love it. I spent millions on this film—of course I’m going to watch it. It’s like seeing a new movie each time. Audiences laugh at different things, and that’s fun to track.

JONATHAN:
And that’s what makes those test-screening groups a little flawed. But I think the online community of filmmakers has really responded to your film. Do you have any timeline for a release?

LOGIC:
It depends on the buyer. There’s already offers, which is incredible. I want the world to see it soon, but I won’t rush it. I’ve been patient—I want the right home for this.

JONATHAN:
This definitely feels like a ’90s-era indie movie. So many directors back then were doing something new—your film gives off that vibe. What’s your ideal genre or dream concept for the next one?

LOGIC:
My next one’s about a screenwriter trying to finish a movie. Very simple, but what happens is wild—crazy characters challenging him on his hero’s journey. It’s a story I’ve never seen before. That excites me. Charlie Kaufman said, “Put yourself in your script.” That’s what I’m doing.

JONATHAN:
Well, you definitely did that with Paradise Records. Final question—how did it feel premiering at Tribeca, especially after almost setting up your own LA screening?

LOGIC:
Man, I’m exhausted but so happy. I didn’t get into Sundance or SXSW, and I was ready to book the Chinese Theater myself. Then Tribeca called—I cried. After doing everything myself for years, to have a red carpet rolled out? Dream come true. Everyone at Tribeca’s been so kind. I want to make movies more than anything. I won’t let anything stop me!