Lena...

I know I haven't lived up to my promise of posting, but I just haven't had the energy to do so lately. I had to pay my respects to the alpha mother of Black film, Lena Horne. I used this pic cause she looks almost exactly like my grandmother here--something I didn't notice until googling her picture. She looks so naturally beautiful, inside and out.

While I don't speak much on early Black cinema such as "Cabin In The Sky", etc. (though I really should), I have talked about Lena a few times. Like how sexy she was in that Gap commercial in 1997, though she was like 80, and wishing that if I'm blessed to live that long to be even half that sexy. I hope I am even half that sexy now!

Also, I talked about a biopic (which was supposedly confirmed by Oprah), that was to start filming in '08 with Alicia Keys playing Horne. Thank the most high that travesty didn't happen; sassy Lena was absolutely no joke, and didn't suffer fools easily, and to me, Keys would just not be the one for the job. But like I said back then--at least it wasn't Halle Berry.



I'm gonna sum up this tribute to "The Horne", as Fred G. Sanford of the respected Sanford And Son put it, by putting up the post from "D-Listed"

If you witnessed a tiny crystal bubble floating through Manhattan last night, it was Lena Horne gliding off to the Emerald City in the sky. Lena passed away on Sunday at the age of 92. Lena's rep wouldn't give anymore details.

Lena kicked down racial barriers when she became one of the first black performs to sing with an all-white orchestra in the 1940s. She was also the first black actress to land a long-term contract at a major movie studio. Lena starred in Panama Hattie, Stormy Weather, Cabin in the Sky and of course as Glenda the Good Witch in The Wiz. In the early 1960s, Lena became a prominent civil rights activist. If you haven't yet, you should read her obit at The New York Times.

Lena's Gap commercial:



And cause I'm a lover of Lena and Flip (TV Land, please bring back the Flip Wilson Show again!) here is another of her; singing a Kris Kristofferson song of all things:

Movies Revisited...Mo Better Blues

This is a repost from my other blog "Soul Sis-Star Reviews" (Movies Revisited), where Issa Rae and I give our two cents on Black Film we've watched. Please join us over there and give your two cents as well :-)


Even though this movie was highly anticipated when it came out, and I did indeed see it then, there were only a few details I remembered...the beautiful clothes, how pretty everyone looked, slightly crushing on Wesley Snipes (long gone, of course). But watching it again brought me a bit past my original superficial thoughts on the film.

For those of you who don't know, the plot synopsis is this (from IMDB--not a very good one, sorry):
"Opens with Bleek as a child learning to play the trumpet, his friends want him to come out and play but mother insists he finish his lessons. Bleek grows into adulthood and forms his own band - The Bleek Gilliam Quartet. The story of Bleek's and Shadow's friendly rivalry on stage which spills into their professional relationship and threatens to tear apart the quartet."

Like many of Spike's films, I found parts of Mo Better Blues to be pretentious and cartoony, edging on corniness--the dialogue of the children in the scene where Bleek Gilliam, the main character played by Denzel Washington was a child, the overly studied and propped shots of "the hood" that would even be too much for a photograph, the very familiar moving dolly shots that were part of Spike's trademark.

For some reason this time around they were endearing to me, maybe because it was a woeful reminder that there is a severe absence in trademarks or style in today's Black Cinema. There are some up and coming directors that are notable, to be sure, but none of them have established a familiarity of like, say, a Spike, Tim Burton, or Wes Bentley. Earnest Dickerson, the cinematographer on this film, was also on top of his game here--the colors, the crisp, professional look of the film, the surreal atmospheres, the intimacy of the jazz club, the way he made everyone look so lush and beautiful...even Spike almost had a handsome look in this one.

I got lost in the beauty of the movie, and wondered why I never crushed on Denzel back in the day. When I worked for The Studio That Will Henceforth Remained Unnamed, Denzel's production offices were right downstairs, and I was never even remotely curious. After viewing this film, I wondered for the rest of the day what planet I must have been on....yes, he was deserving of the sex symbol hype he garnered in the 90's--Denzel was hot as fish grease on the sun in this.


If this film were made today it would do gangbusters--the different moods of the film, from brooding, to comedic, to romantic flow very well together. The storylines--Bleek's sometimes acrimonious relationship with his right hand and sax player Shadow (Wesley), the shenanigans and gambling issues of his manager, Giant (Spike), the two timing love relationships that he had with his women, Clarke (Cynda Williams) and Indigo (c'mon, really, Indigo?) played by the one mega-weak link in the film (besides Cynda's anticlimatic "big" singing debut), Joie Lee, Spike's sister...the storylines mesh and never overwhelm each other.

I understand Spike has love for his sis, but I believe this would have been an infinitely even better film if a stronger, or at least more interesting actress would have been cast in ger role. Joie's personality (and I use that term loosely) seems to fade into the background; her look is different and while attractive in it's own right, is not particularly big screen worthy. In her love scenes with Denzel she has zero sex appeal--she made kissing on him look like a chore...what was up with that? Maybe she was uncomfortable with her brother shooting her that way...if that was the case, someone really should have let the Assistant Director step in.

I must admit, because of the dearth of interesting Black film (interesting to me, anyway) I have found that lately, rewatching film that are 10, 20, 30 years old, that I have a much deeper appreciation for the work, time, and creativity for movies such as this one. Mo Betta Blues has moved up more than a few notches in my book--if you haven't seen it, rent immediately--if only to reminisce on the comedic stylings of the late Robin Harris, the house comedian in the jazz club and to enjoy the jazzy score. Here is the trailer:

7 Questions With Black & Sexy Director Dennis Dortch...

There is one thing that really burns me, and that is folks that put down or discourage the dreams and aspirations of others. There is nothing more disheartening than sharing your thoughts and ideas with someone, only to be told that they are ridiculous and unattainable. To which I say this: Completely consider the source: A) Is this a person you would gladly trade lives with? OR B) Does this person lead a life that you admire and/or respect? If the answer is no, grains of salt, my friends, grains of salt.

One of my favorite things to do on this blog is to interview those I find interesting. The people interviewed here wholly deserve the attention and accolades they receive, as they are independent thinkers, free from the constraints of the conventional world. They learn from mistakes and experiences, and, most importantly, they are willing to share what they've learned with others. They are hustlers and sages, and I learn amazing life lessons and get inspired by each one of them; I hope you do too. Here is the latest--"A Good Day To Be Black and Sexy" director Dennis Dortch, a definite welcome addition to the halls of the new Black Renaissance in film...check it.

Question #1

The landscape is so barren on Black love/sexual situations in movies. I know you have been asked this many times over, but what gave you the idea to make this film? Who or what has been your inspiration in filmmaking? (That is really two questions--I'm cheating a bit)

Life. Real life. Our daily pursuit for happiness in love and sex drives and affects most of our decisions in life. We are living it everyday. These are basic human needs that find our white counterparts with oogles of quirky movies on the subject. When it comes to us, suddenly it's different even though we are all human beings with the same desires and needs. When you do see us in any sexual situation in a movie (especially a mixed cast movie) - we are either raping, overly sexually charged, or getting no ass whatsoever. Nothing but the extremes and nothing in between. Keep in mind that anytime you put a black person on the screen (esp. a black man), whatever they are doing or portraying holds much more weight. Put a gun in their hand, show them dead, show them running from the law, in court, or playing the President of the US or God, or Jesus, or simply having sex, it's suddenly a little bit heavier. Where our white male counterpart is just doing something as an action, the black counterpart becomes that *something* they are doing.

I think the second part of that is black folks are kinda prudish. I mean the West is sort of prudish overall compared to our European counterparts, but we all love sex but we just don't want people to know we love it. That's why the porn industry is booming. It's all about secrecy, so it carries over to the big screen and the lack of content on the subject. I've been asked plenty of times, why would I want to make a film just about this stuff? Like a porno or something. This usually comes from a woman. Deep inside, I'm thinking this person is probably a freak in bed, but a lady in the streets. Simply, I wanted to just get at the things we are doing and feeling today and tomorrow, and the next day in a realistic presentation.

To answer the second part of your question, it's almost the same answer... Life. Real life. Women are an inspiration especially. Sometimes I just want to talk to you. And film is an extravagant way to communicate. You ever had an argument with your significant other and you wish a third party was present so that they could validate your point of view or judge who is right or wrong in this situation? Cause you feel the other person is clearly not listening to reason. You just want someone fair and non-biased to call it. Making a film is like creating that opportunity for a third party assessment. I'm simply telling on someone, including myself.


Question #2

The visuals were wonderful in the film, and the performances from the actors are truly on point--very natural and affecting. What is your primary focus when you direct a film? What emotions and thoughts are you trying to elicit from the audience?

My primary focus is sensuality and naturalness. To capture those fleeting real moments in life that we all have experienced but never have captured on film. The actors are bringing a piece of themselves to the set. We discuss their own experiences related to the subject and pull from there. My cinematographer Brian Ali-Harding is by heart a documentary filmmaker. His style is pure cinéma vérité. We have been making films together since college focusing on real human emotion and moments not artificial movie moments and over-dramatic fake movie emotions. You put these two factors together and like peanut butter and chocolate, you got black and sexy.

My goal for the audience was to create some connectivity. If you watch the film and identified with something that's happening on the screen either by knowing this person in real life or applying a past experience you, yourself had, it feels real. You then feel connected.

Question #3

The title of your film "A Good Day To Be Black And Sexy" was sure to stir up attention. Was the intention to make people take strong notice? Were you pressured to change the name by anyone?

Yes, I wanted the marketing of the film built in to the title and live on beyond it. It was always a brand to me. More than one film with many spin-offs and connected lifestyle products (clothing, music, etc.).

Yes and no to your second question. Someone very close to the film tried to convince me to change the stories to match what they perceived the title to mean.


Question #4

You made some unknown casting choices and filmed on a limited budget, and your film turned out to be one of the most interesting pieces I've seen for some time. As advice to some of the filmmakers who read this blog, how does one get a feel that they are moving in the right direction on a project? How does one garner support from those inside the film and outside of it?

The first question is what is the definition of the right direction? For me it is when something affects you or intrigues you. You have to be your own guinea pig and be affected before it can transfer to someone else. Trust yourself and your instincts and the people who are supposed to be attracted to your project will find it and support it. It's just energy and there is not trick in it. Just truth and honesty.

To go further, don't pay attention to the haters. There will be a lot of them. It's not that they mean you direct harm, but they have so much self doubt in themselves, and misery loves company. I was told that I was crazy to take the money out of my house to finance this feature. I was told that my script was a porno and no one would want to see this. I was told that no company would want to distribute a "black art film." Those types of films are reserved for white people. If you have a strong vision and it truly makes you excited just thinking about it, then there is a good chance that excitement will transfer to someone else watching the film that you made from that inspiration. Everybody may not like your film, but your job is not to please everyone. That is an elusive goal.(from iw--amen!)

As far as gaining support, just do your thing. Most people just talk, very few actually do. It's not easy. It's takes a tremendous amount of focus, perseverance, and unwavering faith. Making a film and expecting a company to buy it and in turn people pay to watch it is not a solid business plan. It's crazy actually. So, when someone does it and breaks through, the law of attraction takes over and the support trickles in. It's still a struggle after you initially get that attention. Support is a fickle thing, trust me. It's really up to you to build on it in a timely manner.


Question #5

A subject that comes up here quite often is the dissatisfaction with what "The Hollywood Machine" is producing in the way of Black Cinema. What, in your opinion, can the public at large do to change things? (Everyone gets asked this question, btw)

If we collectively stop supporting the bullshit, the bullshit will disappear. It's about natural selection. Hollywood is not against making money any way they can. But really, you have to ask yourself, why would white people collectively give a damn about what we want as black folks? They are too busy trying to get what they want. Our wants and needs are our problem. And we dictate what gets put out there every time we spend money on it.


Question #6

Tell us what projects you are working on now. Anything we can look forward to in the future?

The big project launching next month is what we are calling Black & Sexy TV. An online portal for black content from my team. The first out the gate is a spin-off web series from the film called BLACK & SEXY B-SIDES. We are basically expanding on the world and characters created in the film in 2-6 minute episodes online. Plus we are creating the sequel to the film tentatively called A GOOD DAY TO BE BLACK & SEXY: NEW YORK CITY.

Outside of Black & Sexy, I have a feature I'm currently writing that I'm real quiet on, but I'm real excited about. That's why I'm not saying anything really. You gotta stuff all that excitement and desired to blurt out the story into the script.


Question #7

Any thoughts or advice you would like to leave for the readers?

I guess this would go to the filmmakers...Distribution. Most filmmakers (including myself) look at obtaining distribution as the end-all and be-all goal. But that's really just the beginning. And we spend a lot of time stressing on the things that don't even matter in the end, when the real important things have slipped past us a long time ago. The great thing about making your own film from your own money is you have all the control. Suddenly when you get distribution, you see most of that control taken away. The biggest beef a filmmaker will have is how his/her film is marketed. And really it's just a divide between your goals and your distributor's goals. If you can identify what their true goal is, then you can better manage your expectations if you decide to sign with them. And you need to figure out what it is you want and how that fits in the current climate of the film industry. I stumbled upon a quote in a magazine on an airplane trip one day that said it all: "You don't get what you deserve, you get what you negotiate."


From IW: "You don't get what you deserve, you get what you negotiate." Truer words were never spoken, for reals! A phrase to live by folkses, and completely consider the source. Below is the new trailer for "A Good Day To Be Black and Sexy"--please add to your Netflix cue or get out to your nearest video store and support our new Renaissance....

Movie Review: Black, Sexy, Love--- Finally!

It has been discussed on this blog several times how Black sex/love/intimacy is rarely shown in films, especially in a realistic way.... really maybe not since the Blaxploitation of the 70's. Well, the film I am reviewing in this post certainly leaves those longings in the dust.

Had the pleasure of seeing "A Good Day To Be Black And Sexy", and wowee. I. Freaking. Loved. It. I don't even know where to start.

It is a series of vignettes that show the perils and beauty of love and sex with several Black couples; the adulterous situation, the selfish lover, the love relationship that hits you out of the blue.

It opened with an "O" face shot, and a scene I wasn't too crazy about called "Reciprocity", in which a woman gets hers (downtown ifyaknowwhatimean) and doesn't want to reciprocate. "Oh boy, here we go", I thought, rapidly losing interest and thinking that this must be a typical, low budget outlook on Black male/female relationships...but after that--just wow. The next story, called "Her Man", involves a couple--the man being married, and the woman--being the mistress--making the mistake of starting to care too much, and making the inevitable demand for him to spend more time with her and being jealous of wifey. It is so real, so natural, and rang so true you it makes you think "damn, they really got this". It made me super curious to see the rest....and no matter who you are, you will find a strong affinity for at least one of these vignettes.

Some of the movie shows the beautiful, powerful side of Black love, some of it shows the ugliness, which is just as powerful, sometimes even more so if you let it be so. It is intelligent, humorous, and yes, sexy and erotic. Sometimes it was so sexy that it made Ms. Invisible hot in her seat, but I won't go much further into detail as sometimes Poppy Invisible, my father, peeks in here once in a while. My favorite is the story "Tonight, Part II", and I immediately had an hour long crush on both the male and female leads. It was absolutely affecting in it's magnetism...it shows how the power of silent, unknown attraction can be so mighty in it's power and emotion, it just makes all logic go out the window. You are completely out of your realm and comfort zone, but you are almost Zen in your focus that all you want is this person, and nothing else is really as important.

It made me remember one comedian, who I was meeting for the first time to set up a styling session, was at a radio station giving an interview. While I was sitting there in reception listening to him talk, I found myself becoming immensely attracted to him, I don't even know why. He looked out of the glass a couple times, but nothing seemed to register on his face--I didn't even think that he saw me. When the interview was over, he promptly came out, walked straight over and laid his body on the back of the sofa I was sitting on, and just started touching my neck and arm, real soft. In a normal situation that would have completely freaked me out, but at that time it felt like he should be doing it--and he did it before he even said hello to me.


"Tonight, Part II" is a story like that, and you drink in all of it with all of your senses. Director Dennis Dortch has one hell of an amazing eye for just beautifully sensual shots, focus, and colors that make you just feel it in your bones. Even the sound of beads clicking in someone's cornrows, or the way someone's t-shirt fits looks/sounds/feels sexy. You smell the leather in the seats of someone's car, feel the texture of the sheets on the bed. Even the music is completely on point. The characters were all amazing, in natural acting ability and to look at. I just hate when some people say "oh, they're light, or have good hair, or whatever else, so they must be 'mixed'". Black people are the most diverse in looks on earth, sometimes even in the same family, and Dortch shows us in every shade, color, and hair texture, which I loved. The girl in "Tonight", Mylika Davis, was particularly beautiful to me; young, petite, with a perfect jewel of a dark brown face. Her love interest, Jerome Hawkins, just might be my sixth husband :-)


The last vignette "American Boyfriend", focusing on interracial Black and Asian culture, was sort of a weak finish, but is still miles ahead of any Black Cinema I've seen for months. From what I've read, the stories are supposed to take place in Los Angeles, but everything had the look, feel, and flavor of New York to me.

This is a breath of fresh air movie about real Black love and sexual situations, sometimes almost graphic in it's rawness. It opens you up like a flower, and makes you think about past, present, and future love/lovers. Unless you are just the biggest prude ever, once you finish watching this movie you will be ready to smash anybody with a pulse, haha! It was released yesterday on DVD, Ms. Invisible says check it out, stat.




ANNOUNCEMENT: Black Cinema At Large is giving away a bootleg-free DVD copy of "A Good Day To Be Black And Sexy" in a little, bitty contest. Tell me what you think is the sexiest Black Cinema scene ever and why--my favorite will win this wonderful movie (we may have to vote!) just in time for Valentine's day. Leave it in the comments folkses-contest ends Saturday at midnight, PST!

A Good Day To Be Black And Sexy....

Hi all. I know I've been a bit absent this past week, but promise to bring you some movie news tomorrow. I am kicking my New Year off in a major and fantastic way with a new health regime (really just a step up from what I've been doing before) and celebrating this past week-end and today with all of it's glory and significance.

Today is my birthday, and what better present can I have than what's going on today? Obama knew what I wanted, lol. Note to George Bush: PLEASE let the doorknob hit ya where the good Lord split ya on your way out!!

Ahhh, yes, such A Good Day To Be Black And Sexy....**

Y'all enjoy it all day long...as for me, I will be on the highest mountain ranges of limoncello heaven!





**i'll be reviewing this film soon...

7 Questions With Director Pete Chatmon....

Quite by accident I happened upon a movie called "Premium" while channel surfing on cable. It was described as a film in the vein of "Hollywood Shuffle". I didn't really get that, the only thing that seemed to be a commonality was that the central character was a struggling Black actor going through numerous shenanigans. What it was however, was a well made, well directed, well written, and well acted surprise of a film.

It made me investigate further, and I found out that a dude named Pete Chatmon wrote, directed, and produced it. I posted about it and called him "kind of a hottie" (which he called me out on). The truth is, he is very much a hottie. Not just because of looks, but he has the talent, drive, and ambition that makes me exhausted just reading about his activities. He is a true case study on what to do to make it, not just in film, but in life. The fact that he is an obvious cocktail lover with amazing sartorial sensibility and a true New-York-style "keeping it real" swagger is just the icing on a very delicious 7-layer cake for me. Check out his views on things; this man is gonna be huge--East Coast stand up!

Pete Chatmon: Nota Bene-I am sipping on my 4th glass of the good stuff as I type this so the levels of "real talk" are likely to be quite high. My apologies should it be "too" real. Actually, I'm not apologizing. Read on people!

Question #1

Your film "Premium" was an impressive outing; a fresh take on Black male/female relationships. I know you've been asked this ad nauseum, but how did you manage to snag such a quality cast for your first feature film?

I had to look up ad nauseum right quick to make sure I was on the right track! -- Getting cast is all about the script. Especially when there is no money or the salary doesn't drastically change the actor's lifestyle. With PREMIUM I felt that I had written something that would be unique (although "normal" experiences for black characters shouldn't be) and would entice actors interested in supporting the voice of an emerging filmmaker + the opportunity to put a spotlight on the realities of the experience that they live day in and day out. It's the same thing I've done on my non-profit or documentary work -- people get on board for a project about education or AIDS because it's the right thing to do.

Along the same lines, there are "commercial" projects, or endeavors, that strike the same chord for the right people. We all play a specific part in the machine of making art, and I've always moved with the assumption that since I'm not crazy (right?) there are folks out there who share similar sentiments and viewpoints but with different talents. The talents that will help me realize my ideas. So...I write, produce and direct this film knowing that there is an actor waiting for someone to present him or her with this opportunity to flex. It's symbiotic. The final piece is having a great casting director like Sig de Miguel who can work his magic to ensure that actors, their agents, and managers, are aware of the viability of your project.


Question #2

Your film "761st" has a barely touched subject matter (Black WWII war heroes), and details the war experience in great depth with those who were actually there. What gave you the idea to make such a film? How did you bring it to fruition?

761st was born under the decision made by my Executive Producer, Steve White. There was a September 2002 NY Times article about the 761st Tank Battalion and the fact that they had 48 straight annual reunions up until that point and were facing the possibility of having to discontinue the event due to lack of money. A battalion that once numbered over 700 men had been reduced, thanks to the unavoidable passage of time, to just 31 members.

The "barely touched" portion of your question flows directly into why they met every year. Imagine telling your grandchildren, or other people you come across in your life, that you fought in the Battle of the Bulge. That you have the 2nd longest military active duty (183 straight days and no relief) in American history. Imagine that people look at you crazy because the things you are saying are not reflected in the history books, the movies of the time, or just general public knowledge. You would surely get tired (if not pissed off) of saying "I really did that" and trying to convince people of something that should be American common knowledge, let alone "Black". Meeting with your comrades once a year they didn't have to say or prove anything because they all..just...KNEW. Lived it. They were all there and that shared experience provided comfort, relief, and affirmation of one of their major life contributions.

But, back to your question -- Steve started interviewing several of the soldiers after agreeing to help to pay for their reunions so they could continue to have this yearly solace. The NY Times articles stayed with him in his heart for quite some time and he decided to go meet with the head of their Allied Veterans society in Chicago. He teamed up with the unit historian, Wayne Robinson (also a tanker, but in the Gulf War) and they compiled about 50 hours of interview footage.

I met Steve 2 years into that process as I was raising money for PREMIUM. He supported me in that project and right after I locked picture we met in a coffee shop and he presented me with the story of the 761st. I looked at all of the tapes over the weekend and said "let's make this happen". I came up with a battalion of my own, 2 producers (Christina DeHaven and Emily Konopinski) and an editor (Adam Hark) and we proceeded to handle the jobs of probably 20 people. I mapped out a storyline, including new interviews, visual approach, and the writing of the narration, that would cement an understanding of their accomplishments for the viewer but in the later portion of the film take America to task for not honoring what they had done. The military is an honor system, where it you do "a,b,c", you become a Colonel. When you do "x, y, z" you become a general, etc etc. It's a merit system and the only reason they were not acknowledged for their exploits was racism. Not a single Black soldier received a congressional medal of honor for what they did in WWII until January of 1997 and only 9 men received it at that time. One was Ruben Rivers, of the 761st. Posthumously.

Clearly, I can keep going on and on about these guys, but to bring some conclusion to your questions, I was amazed by their story and the fact that they had fought in Europe, and many died, for freedoms that they did not enjoy in America. They were a reflection of true patriotism and I can't wait for people to see the film! We are working on getting it out on DVD in the next couple months, and I think it's some of my better work -- I became a better and more economical writer as a result of writing this narration and streamlining years of history into something palatable for a general audience. Andre Braugher narrates the film ... a lot of people don't know that because the trailer was cut while we were still editing but he did the narration wonderfully and I think part of his motivation was that he had played Jackie Robinson in a cable tv movie in the early 90s and Jackie Robinson had been a member of the 761st. The history is rich...trust me. And getting a remarkable talent like Andre Braugher to narrate this independent doc falls in line with the answer I gave to your first question about casting.


Question #3

Being an East Coast auteur, do you find it harder to make/keep contacts? Is there a support system for Black filmmakers in New York? I know that some Black filmmakers have stated to me that they believe it is more advantageous to stay in the non-Black film circles of LA.

It's all about your network, and then your location. Clearly, Des Moines isn't the place to get your film career popping (in most cases), but as far as other metropolitan centers, and NY vs. LA specifically, if your support group is in NY, then you stay there. Point blank. I couldn't do 90% of what I do any other place in the world. The money we raised for PREMIUM would never have been raised. We put together a Doritos commercial for their Crash the Superbowl competition for about $300 in just a few days.

That's relationships at work. If I were sitting in my LA apartment, motivated to do any of the above or the other projects we've put together, it would never have happened because I didn't have the ability to bring people together who were both talented, competent, and trustworthy in the sense of shared vision and mutual goals. I can do that in NY/NJ because we have a strong, deep rooted team that often surprises me with their willingness to join forces for no money in the interest of art. That said, if and when it's time to go to Hollywood, I'll go...my momma ain't raise no fool...but overwhelmingly the ideas that I generate and create as a writer tend to take place in NY anyway. And whatever money is to be made through the system through ideas that will make them money is to be used to facilitate more stories like PREMIUM and the 761st.

Question #4

You went to a very well respected film school (Tisch at NYU). There are a lot of aspiring filmmakers who read this blog. Do you feel that film school is an imperative necessity for a Black filmmaker? Or do you feel as if talent and contacts can be enough as essential tools?

It's not about film school. It's not about talent. It's not about contacts. I have friends who's parents, in my eyes, are like kings and queens and titans of business. But the children don't necessarily achieve on the same level. Now, they may "fail upward", but the dedicated pursuit of a life's goal is not there despite the available contacts. I always say that I am far from the most talented filmmaker, yet there are people I graduated from NYU with who were more talented and still haven't made a feature film. Some may not even be on a directing track anymore.

Personally, I know that I will not allow myself to be out-hustled (from IW-i noticed!), and that doesn't just mean being up late and thinking. That doesn't impress anyone because one you hit 15 years old, staying up late ain't even hard anymore. It's about WHAT you are thinking about when you're up late. Out maneuvering the competition. Pushing yourself creatively.

Mastering your craft. I've got a long way to go, and the hard thing about directing is that you can't work that muscle as often as you can the writing muscle because you need the camera, crew, money, idea, etc to flex with rather than just a computer or a pad or diary or something. Film school is great to nurture the contacts and seek guidance of working professionals, and have a certain stamp of credibility upon graduation, but it doesn't define you. To be honest, I've learned most of what I know since I graduated film school by just doing. My final point is that talent isn't going to be earned anywhere. Y'all could drop me off at Julliard today and come back in 2 years and you're not gonna hear a concerto coming out of my dorm room. But a film -- that's another thing!


Question #5

A subject that comes up here quite often is the dissatisfaction with what "The Hollywood Machine" is producing in the way of Black Cinema. What, in your opinion, can the public at large do to change things? (Everyone gets asked this question, btw)

I'm a realist. You can't blame the public. Well, you can, but then you are just continuing to make shit on the sidelines (if at all) and complaining about why "people aren't feeling me". You're the mad rapper at that point. I'm not saying you HAVE to play within the system, but don't be mad when people aren't flocking to your product. I stand behind PREMIUM with my head up and defiant eyes, happy that everyone involved with the film was able to do it. We made something that I wrote in my momma's house and got it in a few theaters and on cable and I directed actors that I watched on TV in the very same room where I wrote the script.

But I also know that the film is a break from certain expectations and the minute you do that you are going to lose a certain amount of people AND fail to reach a certain amount of people because it won't be marketed to them on the true merits that might appeal to their sensibilities. So what do you do? In a perfect world, that film would have been my "She's Gotta Have It", opening the door to industry opportunities where the suits wanted my voice to give a little flavor to their content. But since it didn't go down like that, you can keep trying to raise millions of dollars on your own (which is no joke!) or you can find a way to write something that appeals to their bottom line while never losing your integrity.

I have on my wall "You Are the Will Smith of Directing" and by that I mean I need to direct something like "iRobot", and then make "Pursuit of Happyness". I need to make "Hancock" and then make "Seven Pounds". And throw a documentary in between. Even Spielberg had to make tons of money for the system before he could make "Schindler's List". People are naturally that way. How many times have you looked at all 200 items on the chinese food menu only to get shrimp fried rice or general tso's chicken for the millionth time? It's the reality of the situation, but I personally think that Will reaches more people -- more new people -- than a small indie film that essentially ends up preaching to the choir. When I saw "Pursuit of Happyness", I looked back (I like to sit in the front) and saw that the theater was packed with mostly senior citizen white couples. Change has come, and Obama cements it in the same way. You can have black characters doing black things (so to speak ) and it can still be universal, but for mainstream America the packaging is very important. Clearly, I'm getting tangential again, so I'm going to stop here!


Question #6

What projects are you working on now? What can look forward to in the future?

2009 is gonna be crazy! We have a heist film and romantic comedy in development, a 1 hour cable drama we are presenting to networks, and our team of talented filmmakers are doing the hottest music videos, commercials, and viral content you can find. I'm proud to work with these guys -- Anthony Artis, Mike Brown, Benjamin Ahr Harrison, and Dennis Liu. We've also expanded and launched Double 7 Boutique with our Resident Creative Director, Candice Sanchez McFarlane, to customize marketing campaigns for a wide variety of clients. People spend their budgets in the traditional arenas, but more and more they are leaving a few dollars for more creative media channels and platforms. Double 7 Boutique takes those few dollars and make 'em look like millions of dollars to increase market awareness and penetration for a brand.I would say keep up with Double 7 and join our communities (listed below) because while we are doing all of this, and keeping people engaged in the process, it is also our mission to provide information and motivation to other filmmakers to achieve their goals. When we have 10 "Pete Chatmon's" then the audience is no longer to blame. They'll have no choice but to see our content.


Question #7

Are you married? Just kidding! Any thoughts or advice you would like to leave for the readers?

I will end it with one of my favorite quotes:

"All men dream: but not equally. Those who dream by night in the dusty recesses of their minds wake in the day to find that it was vanity: but the dreamers of the day are dangerous men, for they may act their dream with open eyes, to make it possible."

- T.E. Lawrence (1888 - 1935), The Seven Pillars of Wisdom
AKA Lawrence of Arabia

Thanks for the opportunity to talk to your audience. And I can't leave without a few plugs! Peep the links and join what suits you below:

http://www.double7world.com/ -- Our global community site

http://www.double7film.com/ -- Our corporate site where you can see all of our work and meet the team

http://www.doubledownfilmcommunity.ning.com/ -- The Only Community You Need to Achieve Your Filmmaking Dream

www.twitter.com/petechatmon-- Follow Pete Chatmon on Twitter

www.facebook.com/group.php?gid=8871754074 -- The Double 7 Film VIPs Facebook Group

From IW: Got that? Here are a few more links for this very busy man and his projects:

FUNDRAISING PART I http://www.youtube.com/watch?v=tewQhzZZdrM&eurl=http://www.youtube.com/user/Double7Film

FUNDRAISING PART II http://www.youtube.com/watch?v=nGD9fLwq4Zw&eurl=http://www.youtube.com/user/Double7Film

FORBES.COM PREMIUM INTERVIEW http://video.forbes.com/fvn/forbesonfilm/bp_fof113006_ab
ADDITIONAL RADIO + VIDEO INTERVIEWS (NBC, Blogtalk Radio, etc)http://double7film.com/?press&interviews

ARTICLES + FILM REVIEWS http://double7film.com/index.php?press&articles

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Hello All....

Sorry I haven't posted in a minute, but Mama's been taking care of some serious bidness the past 2 weeks. I want to say thank you to the new folks that are following my blog...I have found some very interesting reads through the blogs that you have. Kudos!

I will do a few more posts before we wrap up this crazy, amazing year. But today I want to leave you with 2 videos, both that highly peaked my interest. The first I was gonna do independently as a "Terrence Watch!" until I found the second vid. Thank you reader Harlepolis for sending this to me....it is of Jamie Foxx on Big Boy's radio show talking about his experiences with my beloved, Terrence Howard. He absolutely destroys it as he imitates Howard and his special way of talking, and speaks on Terrence's ummmm..."unique" personality. Funny as hayall!




This second one I saw while reading "On The Black Hand Side". It is of Etta James and Chuck Berry absolutely, positively KILLING it on some awards show. They show everyone, from youngest new jacks to the oldest heads, who the true royalty really is. Etta's talent is so huge, Bey can only dream at night of coming close...and Chuck is evidently quite the hype man.

You can see this reunion brought them back to the memories of their early days together...LMAO at Keith Richards of The Rolling Stones coming in on the end as if he were on the same level and caliber (or even deserved to be in the same room) as James and Berry.

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Chuck Berry & Etta James
Uploaded by Roselyne14

If you are not able to view the above video, click here: http://www.dailymotion.com/video/x4naj_chuck-berry-etta-james_music

Today In B'Days....

My number one girl crush, Meagan Good, is 27.

A Good Day To Be Black And Sexy....

What day isn't? lol

Actually, this is the name of a film I've wanted to see for some time....a subject that comes up here quite often is why genuine Black Love isn't shown on screen (I mean really, wtf? I know our sh*t is intense, but damn!). "Medicine For Melancholy" was the first glimmer of hope, here is another---spotted on The Obenson Report:

For those of you living in the Philadelphia area, Sundance 2008 selection, A Good Day To Be Black And Sexy, (directed by Dennis Dortch) will be screening at the the ReelBlack Presents showcase on Thursday July 31st, at The Bridge Cinemas on 40th and Walnut Street.

No info on specific times. Go to REELBLACK for more info as the day approaches, or call the theatre.The film was picked up by Magnolia Pictures at Sundance and is scheduled for a fall 2008 theatrical release.

From IW: Love ReelBlack--they are always doing great things!

Here is the director talking about the film:

Today In B'Days....

The hotness, the fineness, the lick-able (okay I'll calm down) Chiwetel Ejiofor is 34.

Old School Music Friday...

OK, I've broken my promise more than once to start blogging regularly again, but believe me (please!) it's coming back very soon. I had to show love to my old school music fam tho--this week's meme is favorite female singer. I don't know why, but almost all of my favorite singers are men (hmmm, whassup with that?), and two of the five of my favorite female singers are not old school--Jill Scott and Erykah Badu. The other three are Nina Simone, Chaka Khan, and Roberta Flack, and I have always believed that Roberta was a genius since I was a little girl---my mother played her all the time. This song has also been used in several films, both Black and non-black. It is a classic in every way:



Believer 1964 - http://ruhoffman.blogspot.com/
Cassandra - http://celeb-blitz.com/
CC Groovy - http://ccgroovy.blogspot.com/
Chocl8t - http://thechocl8tdiaries.wordpress.com/
Danielle - http://funkyfingaproductions.blogspot.com/
Danielle Vyas - http://modernmusings.com/
Dee - http://donotcolorme.blogspot.com/
DP - http://therealready.blogspot.com/
Fresh and Fab - http://freshandfab.blogspot.com/
Hagar’s Daughters – http://hagarsdaughters.blogspot.com/
LaKeisha - http://kreativetalk.blogspot.com/
LaShonda - http://thee-biz.blogspot.com/
Lisa C - http://lisacwrites.blogspot.com/
MarvalusOne - http://www.themarvalusview.com/
Mrs. Grapevine - http://mrsgrapevine.com/
Quick - http://thequickcatchup.blogspot.com/
Regina - http://reginasfamilyseasons.blogspot.com/
Shae-Shae - http://shaedoves.blogspot.com/
SJP - http://sojournersplace.blogspot.com/
Villager - http://electronicvillage.blogspot.com/
Vivrant Thang - http://songsinthekeyoflife.wordpress.com/
AJ -http://overanalyzeit.wordpress.com/
Mike - http://thehappygoluckybachelor.blogspot.com/

If I've left anyone off, please let me know!

Today In B'Days

Giancarlo Esposito is 50. Still sexy as hayell.

Giancarlo has made some great ones, and he has made some clunkers, but he is never, ever boring. I think my favorite performance by him was in "Fresh", as a New York Spanish drug dealer. He always seems to play a detective these days...

There are no clips of "Fresh" online (unfortunately). So here is one of some movie I never heard of until today called "The Box", with him and Gabrielle Union. It is from Code Black, the company that seems to release 2 Black films a week, all straight to DVD material.

It looks perfectly awful; we will add this to Giancarlo's "clunker" category:

The Good, The Kinda Bad, And The Completely Wack.....

I went on one of my "mmm's" this weekend (mini movie marathons). So here are my mini reviews of what I saw.....


First up, The Good:


City Of God


I have read so very, very many wonderful things about this film. I have avoided it before, as I am ashamed to admit, sometimes I do not feel like reading subtitles. There I said it.

But my laziness has made me late on a completely amazing film on every level. It is a story of young hoodlums trying to rise above their poor and desperate hardscrabble life in Rio De Janeiro, Brazil. But it is so much more than that. There were twists and turns and multiple storylines everywhere, and it worked. Beautifully.

It conjures up memories of Scorsese's "Gangs Of New York", and Quentin Tarantino when he is good. It sometimes has the look and feel of a spectacular 70's black exploitation flick, and the high tension "anything could happen at any time" dread of "The Sopranos". Yet though you are reminded of all of these things, this film has a look and voice that is completely unique.

I once took an Italian Neo-Realism film class (not to sound uppity, but it's relevant). These films were well noted worldwide because it was the first time that cinema was shown in a ultra realistic way, and not Hollywood script style, right after WWII. They showed the human condition in a way that was in your face and unflinching, and the actors did not seem like actors at all, but folks really living the experience.

City Of God is like that; it shows Brazil in all it's beauty and it's seedy ugliness of the poor and working poor--the people are amazing to look at in this film (Brazilians are legendary for their diverse beauty, with good reason) from the darkest black to pale ginger red heads. It shows how people are forced to make choices out of desperation, cause they don't want to be left behind in a bleak hopeless world that they had no part in making, and how those choices can be so very f**ked up, to say the least.

To put it simply, this film was the s**t, the kind that you think about for days after you see it.




Also on The Good:


The Great Debaters


Yes, I finally broke down and saw it. In my opinion, though the film had high quality content, I think it would have been an even better film sans the overly sappy soundtrack. I'm just being honest.

I think one of the reasons I am such a fan of independent film is that it's lacking the swelling, manipulative music that is a staple of the Hollywood Machine. You know, the Disney-esque crescendo of the orchestra "happy music-feel happy here!" "serious, slow, tender music-feel sad here!" "uplifting loud music-feel happy again here, especially at the end!"

You know what I'm saying. That type of sound is preachy and tiresome. And I think The Great Debaters would have been a very solid film, taken a bit more seriously, and been a little longer lasting without it.

I felt the same about "Talk To Me". Just my opinion.




Next up, The Kinda Bad:



Meet The Browns


I don't want to straight out call this film bad, cause it wasn't. But it wasn't what you would call good either. Meet The Browns was pretty much everything you expect from a Tyler Perry movie, but this time with a couple of minor attention grabbing aspects.

Angela Bassett gave one of her Angela Bassett performances, and she can't help it---she is soooo serious. Even scenes that call for her to laugh light-heartedly seem very forced and unnatural. But she keeps your attention at all times, something that Tyler Perry's movies haven't really been able to do for me before. Seeing her very well toned body, jaunty, well placed hair scarves, and calm, sensible demeanor really didn't fit in that "Good Times" style project apartment she lived in either. Also lmao off at the babysitter scolding Angela multiple times, talking about "You young mothers these days". Ummmm.....Angela is 50?

Of course there is the "family-and-friends-sitting-around-the-dinner-table-while-major-life- changing-revelations-are-brought-to-life" scene (that honestly I am beginning to loathe). The one in this film is particularly out there and over the top, even for Tyler Perry.

Insert everything else from every other Perry film, and you have this one. It's almost comforting in it's sameness: a good man is a cure for all a woman's ills, the sassy/nosy/blunt neighbor/relative, the moral of "Put your faith in the Lord first", and the ever classic "Family is family, no matter what".

On a side note, even though he really hasn't done anything at all for me in the past, Rick Fox was looking mighty...."magically delicious" in this film. In other words...that negro was fine as hell! haha




*sigh* On to The Completely Wack (and inexplicable)




"Alvin And The Chipmunks"


Don't ask.




Miss B's Hair Salon


Holy sh*t. I don't even know what to say about this one. Let's first start off with the fact that the women on the DVD cover were nowhere to be found in the movie. It seemed like it was one of those films advertised on Craigslist calling for actors and crew with the line "no pay, but food and credit will be given!" They then proceed to film the movie on the cinematic equivalent of a camera phone, have everyone change "costumes" at the Exxon gas station, and have the movie take place in one room, two at the most. The script and dialogue seems like it was self-generated and wrote itself, as no breathing human being could possibly be this talentless. It makes Vivica Fox's "The Salon" look like "There Will Be Blood".

It was about a bunch of very badly done stereotypes and cliches rounded up in some sort of scary beauty shop, with Tiny Lister somehow involved. He is the only person with even a glimmer of recognition in the whole movie. The almost hypnotically insane side story was about some dude whose face they never showed-- only his crusty, blackened, weed smoked lips that he kept licking and crooked teeth, who had a parade of women coming to this house, supposedly lusting after him. He would proceed to have some type of level 3 sex offender type pre-coitus dialogue with them, all the while brushing his nappy chest hair above his open to the navel shirt (?!!) with a wig brush (?!!) as he was talking. WTF?!

This film was "written" and "directed" by some dude named Jean-Claude La Marre , who is a repeat offender on the horrible Black Cinema list. He has brought us such classics as "Don't Touch Me If You Ain't Prayed", "Gang Of Roses", "Voodoo Curse", and "Nora's Hair Salon".

Two abhorrently dismal hair salon movies? Someone arrest this man before he writes/produces/directs again!

Yummo....

Tyson Beckford is starring in a new low budget film called “King of the Evening”.

Homer Hobbs, home after two years in jail, discovers that life on the outside can be crueler than the back-breaking injustice of the chain gang. He returns to a bleak urban town caught in the depths of the Great Depression–no jobs, no prospects, no hope–where he is thrown together with four strangers, each struggling to survive as they scratch and scheme to dig their way out of poverty.

thanks necolebitchie.


From IW: My girlfriend used to date Tyson. He is as sweet as cherry pie, but let's just say he is not the brightest bulb that ever burned. He seems to have someone around him these days that is making good choices for him outside of the modeling world, but who cares about brains when you look like.... damn.....he is so freakin foin in these pictures..... ummm .....yeah..... hmmm... what was I sayin again?

I Heart Afrosugar.Com

Even tho I wish I came up with the name first (dang!) I have to give love to this new blog. Afrosugar.Com. It's like the Jet Beauty of the Week, only on a much, much flyer (and daily) basis. Hope you lovey as much as I do....

Saturday Morning Crush.....

In keeping with my pact with Purple Zoe, we decided to go high school groupie style and talk about our celebrity crushes...I have a few, but seeing that this is a Black Cinema blog, I'll keep it focused on that area...

As I've said in an earlier post, one thing that turns me off about mainstream Hollywood is the lack of "manly men" and what seems to be a current infatuation with using small, boyish, effeminate looking leads. Black Hollywood fortunately, imo, doesn't have that problem, and I think that contributes to our invisibility at the box office....here are a few I think are of note (at least of serious note to me!)

As you can see, I'm an equal opportunity blogger....it's not always about looks; manliness means alot. Thank goodness Common is now an actor...quite honestly this post could have been all about him alone, haha. I know that putting Denzel on the list is generic, but in my defense I was very much on the late train with him...just crushing in the past two years. I appreciate the strength and intelligence he brings to his roles...

Anyhoo-I'm in L.A. until Wednesday. If I see any of my husbands I'll let you know. To see Purple Zoe's crushes, click here; it should be up sometime today.

(as a side note, blessings to Ving Rhames, I hope he works his current situation out; it's very tragic)