My film doesn't have the star value of an Eddie Murphy movie, but it has the same kind of approach in that everybody can relate to it.' I think black exploitation movies occurred because blacks didn't have control of the images they were portraying. 'That's important to me as a black filmmaker because I feel that our society is painted to be more racist than it is. 'I wanted to do something that was true to its ethnicity but not restricted to it,' he said in that same interview. One of their suggestions was, 'Why don't we get Anthony Michael Hall, and he'll play your little brother, and he can act black throughout the whole movie.' Then they said, 'We can get Charles Bronson to be one of your older brothers.'' A former engineering student at Alabama's Tuskegee University, Wayans was inspired to go into show business after watching Richard Pryor and decided to go to Hollywood where he met up with Townsend and became a regular standup comedian on The Tonight Show. In a promotional interview for People, he recalled, 'Prior to going to United Artists, which released the movie, I went to this one company where they had this most bizarre let's-mix-it-up mentality.

Not surprisingly, Wayans had some difficulty pitching his idea to studios and financiers. The actor-turned-filmmaker had already appeared in (and co-wrote) more familiar clichés of Blaxploitation in brief segments of Robert Townsend's low-budget wonder, Hollywood Shuffle (1987), but Wayans' film would be the first feature-length lampoon of the movement, a tactic later used by such films as Undercover Brother (2002) and Black Dynamite (2009).

The American film movement commonly known as 'Blaxploitation' had been over for nearly a decade before the first full-force parody of it arrived in 1988 with I'm Gonna Git You Sucka, the directorial debut of actor Keenen Ivory Wayans.

Im gonna git you sucka