100,000% Better Than Madea's Trailer...

While probably sighing the deepest sigh anyone ever sighed after the watching the "Madea's Happy Family" trailer (at least I think that was the name of it), I decided to clear my mind with fellow film blogger Issa Rae's new webseries "The Misadventures Of An Awkward Black Girl". It's getting a big buzz (cause it's hilarious) and will definitely mean we'll never pick up "Soul Sis-Star Reviews" ever again; I see a deal in her future... *another sigh*

60's Interracial Sh*t.....

You KNOW that the United States would have never, ever made this poster when this film came out....he'd be lucky to be shown less than 5 feet away from Raquel Welch.



btw, this is from the 60's American film "100 Rifles".

Flashback Week: "Chameleon Street"

After watching a series of groan inducing "just why?" films like boiling hot mess "Armored" and the wretched "The Losers", it was quite refreshing to have a film like "Chameleon Street" thrown into the mix. Reader Tafari summed my current Black Cinema thoughts pretty well:

As for myself, the last good black movie I've seen since the fall of 2009 was Precious. Since then nothing good has been released. Thought about seeing the Funeral movie but decided to see Kick Ass instead and it was fucking AWESOME. So happy I followed my guts on that one!

Outside of Kick Ass, the only movie that I've seen since Precious and Avatar that I like/loved was Shutter Island. Everything else has been a total mess making me want my money back still.

What's a movie buff to do?

For reals! Now Chameleon Street isn't as much of a flashback as the others are in this series, since it was released in 1989, but it very much has the feel and tone of a Black film from the 70's. The difference is that instead of the foot to ass, get "the man" through violence films of the 70's, the main character uses his wits and resources to get by and through "the man".

It is the story of William Douglas Street, played by Wendell B. Harris Jr. (yes, he uses his full name at all times, lol) who, motivated by chasing the almighty dollar, finds himself assuming a number of different identities; surgeon, Yale student, a "Time" news reporter--all falsely assumed but accepted by everyone nonetheless. Everyone except his one weak spot and kryptonite, his self-involved wife. Though from humble beginnings, he is intelligent, has a razor sharp wit with a ton of charisma, and absolutely no time to suffer fools easily. This enables him to make the transitions, from jailbird to ultimately a political and social activist and everything in between, with ease.

While the budget limitations are obvious, and the transitions from one identity to the next can be a bit rough, I saw what the star/director was trying to do. It wasn't so much about the plot itself exactly, but was really more like a scathing observation of the hypocrisy and ignorance of America, and YT's ridiculous assumptions about Blacks and appearances. It also deftly handles the microcosms of Black male female relationships, and how difficult it can be to dedicate yourself to just one person. He had a lot to say, and he said it in this film....the narration is killer.

I have mostly seen Black men rave about this film--it seems to really resonate with them on some level for some reason. But this is what you would call a thinking person's movie; you can't just view it as is, you must see between the lines. It moves at a swift pace, and there are no spots in the film where nothing is happening, so you gotta pay attention. I recommend viewing with zero distractions, and zero expectations, and this movie will be thought about days afterward.


Read this in an article: "Instead of distributing the original film, studios wanted to make new versions with various actors. Harris remembers, “Each time it was given to a different person, it was given a different ambiance. For Wesley Snipes, it was changed into a kind of car chase movie. For Sinbad, it was changed into a kind of goof-ball character. For Arsenio, it was a hybrid of the two.” Will Smith also wanted to remake it, and has twice redone a scene from Chameleon Street where Harris solves a rubik’s cube to impress an employer."* Typical!!!

Also read this: "Harris shopped around many ideas in the 90s, including Negropolis, a version of ancient Rome where the emperor and ruling elite are all black and all the slaves are white. Roles were written for Oprah Winfrey as Cleopatra, Queen of the Nile and Cosmetology, Howard Stern as Alexander the Great and Harris as Canigula – Caligula with a ‘N.’"* Now that is a movie I wanna see!

Wendell B. Harris, Jr. is working on a sci-fi project as of late; I know that you readers have expressed multiple times how there is such a huge need for that in Black film. As such, whenever you hear or come into contact with his project, please do whatever you can to support!

Could not find a trailer, so here is a scene from Chameleon Street:



Some comments from Harris, and a scene from the film about "good hair":






*source: filmakermagazine.com

Oh, How I Miss Thee, Isaac Hayes...

Okay, so I just watched "Truck Turner" for the umpteenth time. Why? Yes, the plot is wholly ridiculous, and unbelievable, but the fact that it is so ridiculous is what makes it watchable to me. It also has a pimp with the worst perm in history (Yaphet Kotto is a pimp as well). That makes me watch, and also the fact that Nichelle Nichols aka Uhura (whose birthday was this week, she's 77) was going around calling everyone "nigga" like she was saying it for the first time. It sounds terrible....but ol' girl was looking great in her forties, yes?

But I really like it because of Isaac Hayes. He just had so much charisma...he was not good looking in any conventional sense at all, but was a master of smoothness, game, and charm. And that voice! He also seemed like a good guy with a genuine sense of humor...I am still lamenting his passing, and when I read who was at his funeral last year, it looked like a who's who list of Hollywood and music; he was obviously loved by many others as well.

For your viewing pleasure--"Truck Turner"--please catch it on cable this month and in January or below...I read that a new Truck Turner is in development--why does Hollywood insist on screwing with perfection?

The trailer:

7 Questions With Actress Jazsmin Lewis....

OK, Ms. Invisible is the first to admit she can be a bit critical at times (but that's why you love me right?). I have made light of this young lady's talent with the flat iron a couple of times...she is definitely the master of 100 hairstyles.

But what Jazsmin Lewis is (besides an excellent hairstylist) is a thoughtful, down-to earth, ambitious, and focused Black woman, who definitely seems to have her head straight and in the right place. She is a lover of classic film, which I'm never one to be mad at, for sure. And, even more importantly, she seems to be the first female that I have interviewed (lol), but certainly not on purpose. So here is Miss Thing letting you know where she's coming from, the first lady of interviews on Black Cinema At Large:


Question 1

You seem to be everywhere lately; stage plays, television, and film. Which is your favorite medium and why?

I love all forms of acting. They all serve a different purpose to me and in my life. When I do a film, I get the chance to spend a month or two getting to know and grow a character. I get to take the time to develop the nuances of human characteristics. So, Film is a immersion into humanity and who doesn't love that. However I also love Television. TV shows your skill as an actor because many times you only have minutes to bring a character to life and deliver an interpretation of what you feel. It's fast and sometimes frenetic but always fun. And stage plays are the closet you can get to an audience and feel that energy with transforms every night into something new and many times beautiful. So, it would be hard for me to choose just one form of acting. I love them all.


Question 2

I have read that you've started a production company. What projects can our readers look forward to?

I started my production company the same year I started acting back in 1995. I knew I had to create projects in order to get to play the characters that I wanted to play. I have quite a few films in development now and have already produced other feature films. But keep looking out
in 2010 and you'll see Feline Entertainment in the forefront.


Question 3

There are many very pretty Black actresses in Hollywood not getting enough work, which doesn't seem to be a hindrance for women of other cultures. Do you think that being considered a Black woman that is beautiful can sometimes be a detriment in being taken seriously in Hollywood?

There's always someone willing and able to discriminate in Hollywood against women of color. Either your too beautiful or not beautiful enough. Beauty is subjective. I've been told that I was "too pretty" for some role that I really wanted but all it did was make me more determined to control my own destiny. I think being a woman of color can be a frightening thing for some
people in our industry. Our strength can be scary.. So, I don't allow anyone to use that excuse with me. It just makes me more driven.


Question 4

What are your top 5 favorite films?

Wow, there are so many. But I love the old ones: "All about Eve", "Hush, Hush Sweet Charlotte", "Boomerang", "Lord of the rings" movies and "Mildred Pierce".


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 think the public has to get involved with what they want to see. Write your Studios, stop paying money to see what you don't like just because Black people are in it if you don't believe in it, and support the actors making the films that you approve of. Don't wait till it comes out on DVD to support it. Show the numbers for the movies that you like.

Question 6

I have a few readers who have emailed me about the TV show "Brothers". They feel that it is positive step in Black television. Will you be a regular on the series?

I was a guest star on the show and as far as I know, that's about it. Although I never close a door... But I have a series that I will be a series regular on starting in November and will release all the info to the press as soon as the ink gets dry on the contract. I have 4 films that I'll be
working on between now and March 2010 along with the series so I'll be busy. Best way to stay up on all that I'm doing in find me on Twitter/@Jazsminsworld. I give constant work and personal updates for films, tv and appearances.


Question 7

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

Always follow your dreams. Even when it feels like nothing is happening, that just means work and believe harder. Keep God before you and let faith be the gasoline in your engine of life.


From IW: Co-sign!





big up to the folks on "grapes on a vine" a blog about indy Black film...check it

Kettles, Robots, and Swimming in "Post Racial America"....

I think it's safe to say that our infatuation with the promise of a "post-racial America" is officially way over. Not that I ever bought into it, for sure. Much about race is bubbling up these days, and while a tiny bit of it just has me shaking my head, the rest of it just makes me wanna kick somebody's ass sometimes. Like Field Negro said, it's just exhausting trying to keep up.

What leaves me going "whatever, dude" is pot/kettle Quincy Jones' non-revelation about Micheal Jackson "wanting to be white". "Have you seen his kids?" he asks in an interview. Wow. This from a man who I've never seen date anyone darker than a Sunset Spray Tan, and whose daughters can pass so well they actually get work in Hollywood. This is who he was with in Europe instead of attending the funeral of the man who made him zillions:



Speaking of Micheal, spotted this on my blogging buddy Eric Easter's site "Big Ideas" from Ebony/Jet.Com. It is a video of Sammy Davis Jr. comparing himself to Michael Jackson on Arsenio Hall, and ends up being something close to a confessional on race. Sammy goes in a few different directions, but you can see and feel the pain this immensely talented man went through, and he used that talent to navigate his way through a tragic life, just like Mike. It was his shield, just like Mike. Oddly Sammy was the only other celebrity besides MJ that made me cry when he passed.




What makes one want to put foot to ass is the situation in Philly that most have heard about by now, where a group of children were denied entry into a swimming pool because it was feared they may change "the complexion" of the pool area. Yes, the fools that run the joint actually said that.

I am not surprised, however, as the same thing happened to me as a kid. My family and I took a road trip to Canada, and in one hotel in Washington state we went swimming. When we went in, all of the YT's promptly got out. I saw one kid crying to his mom "Why can't we swim? I want to swim!" and his mother hissed at him to "shut the hell up". When I asked my mother if everyone got out because of us (it was even obvious to me as an 8 year old), she said "don't worry about it, there's just more room for us to swim now". And being a kid, I promptly forgot about about it. But now that I know better, I'm sure she felt all of the pain, hurt, and frustration those kids in Philly felt, and what made it more ridiculous is though Black, she is the same skin tone as those who got out. I am grateful she made light of it for my sake, so I did not feel what she felt too.


And finally, a cinema related statement on race; a post that my blogging soulmate Tafari did for The Afrospear, which he relayed got him a lot of heated haterade comments:

"Yesterday, I made it a point to go see “Transformers: Revenge of the Fallen” in IMAX. Ever since the last Transformers theatrical release I had been giddy for more.

Hours before I headed to the movies, I started reading posts online that discussed racism in the movie but still I pressed on to Showcase Cinemas and dropped $10.50 for my ticket.

Fast forwarding 2.5 hours later. I’m walking out of the theater with my mind blown for many reasons; 1st, the movie was so action packed I thought I was going to slip into a seizure. 2nd the movie was overtly sexual, which made it seem like an R rated movie instead of PG-13 and 3rd the racism that was built into the movie was billed as comedic relief.

As I drove home, I tried to reconcile the racism but I could not, so I decided to sleep on it.

So this morning, when I woke up, I actually got mad about what I saw in “Transformers: Revenge of the Fallen.” The racism that I’m talking about in case you don’t already know is dealing with the Autobot twins “Skids” and “Mudflap” or the “ Little Black Sambo[ts].

1. Both of the twins talk like they are straight from a Lil Wayne video.
   
   
2. They play the dozens (crack jokes on each other and anyone else) in every scene.
3. They are seemingly proud of the fact that they cannot read. “Read?! Nuh-uh…” “No, we don’t really do much readin’!”
   
   
4. Skids has a GOLD front tooth. Yes, a big bucked out gold tooth
5. The names “Skids” and “Mudflap” imply darkness and or nastiness.
   
   
6. Do I really need to add a 6th, you should get the picture now.

(Wait, for extra measure, if you want to see another relevant countdown list, you have to read this. “7 reasons why Transformers 2 might be racist…”)

With all this now parsed out, I’m wondering why and how this stereotypical bullshit slipped past Michael Bay and Paramount Pictures. Did they care? Did they know? Did they think it was ok?

I feel bad and torn because I actually liked the movie a lot, but how could I in good conscious? Maybe it’s the kid in me remembering watching the cartoon way back in the mid 80s.

Although the racism pisses me off about this flick, I was also disturbed about the adult content and overt hypersexuality. But like I said, I liked the movie, so what does this mean about me?

I know I won’t see the movie again, nor will I purchase the DVD. I do not want my kids seeing this mess and not only that it’s so not a kids movie. Don’t let the PG-13 rating fool you!

Transformers used to be all about the kids way back when, but not so much now thanks to Michael Bay and Paramount Pictures. I’m just saying.

Side note: This post is not nearly what I wanted it to be. Not at all! My thoughts are with and on Michael Jackson. As I wrap this up, I’m chair dancing to “Off The Wall” while I try to control my urge to cry about a man that reached my soul through song, dance and beauty."

From IW: Why am I not surprised that Mike Epps was the voice one of those coontastic robots?

Update: OK, I was misinformed. It wasn't Mike Epps, but one of the voices was YT Tom Kenny, who also voices Spongebob Squarepants :-(

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!

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

7 Questions With Screenwriter Barry Michael Cooper....

"About five years ago, I accepted the fact that I had fallen off.

Let me be clear: I knew I fell off in 1998, when I couldn't sell a script, couldn't get a call-back from a studio, producer or a manager, and my agency--William Morris--decided to drop me, all because I slapped a call girl in the lobby of the Sofitel on Beverly Boulevard, a call girl who I had a relationship with and promised to blow up like MJB.

Oh, of course I was married and had two young children while I was why?-lin' out in Hollywon't. Don't let me forget that."

That is the opening of the cautionary confession that Barry Michael Cooper, aka BMC, wrote in an article that you can read HERE. His journey has been one of success, trial and tribulation, lessons learned, and triumph. After penning such community favorites as "New Jack City", "Above The Rim", and "Sugar Hill", he enjoyed fame followed by infamy, then a crushing career flatline...only to rise like a phoenix out of the ashes.

His honesty is beautiful, and a morality tale that one should never take anything for granted. I am honored that he took the time to participate on my post of "7 Questions":


Question #1

The films that you wrote were staples of the nineties. It is pretty well documented how you came up with the idea for "New Jack City", but how did you come up with the screenplay for "Sugar Hill"?

Sugar Hill came about after I had seen a Cassavetes retrospective in the East Village in the summer of 1991. I actually watched the film "Faces" maybe 3 times in one day: I was blown away by the freedom of the narrative and the acting, and the neo-realism of the cinematography. I began to research and study John Cassavetes, who I remembered from the film "The Dirty Dozen", which also starred Lee Marvin, and Jim Brown. I also read that Cassavetes was also influenced by Black filmmaker William Greaves, and all of the groundbreaking documentaries and films like "Symbiopsychotaxiplasm", that he had done.

It was at that point I wanted to write a piece that was urban but still kind of a existential character study of a street dude who wanted more than the dead end life he had chosen for himself. I also watched the George Cukor version of "A Star Is Born" which starred James Mason and Judy Garland. So a myriad of narratives were tracking in my head. The first draft of "Sugar Hill" was a script I wrote in 1991 called "Skeezer", and it was from the p.o.v. of this party girl who was a struggling actress by day and a phone sex operator at night, who meets this drug dealer and they fall in love in the midst of two lives that were burning from the flames of bad choices. And the title "Skeezer" did not refer to this woman, Melissa: it described the guys she was meeting at the Chelsea bar/club called Nells. Actors, ballplayers, boxers, ghetto celebs, who weren't just sexual whores, but life-whores: the debauched. Dudes whose mindset was, "I want the world and everything in it, and I will do anything to get everything." These dudes were the real "skeezers".

But Beacon-Fox thought that subject matter was a little bit much, and the title as well, so needless to say, the movie went through a few changes. But it is my favorite film, hands down.


Question #2

Tupac made only a few films, each one showing his immense potential as an actor. What was your experience like on the set with him on "Above The Rim"?

I wasn't on the set of "Above The Rim", and the day I was supposed to meet Pac, I was editing a music video for the singer Jeff Redd, in Soho. By the time I arrived to the Rucker Basketball court on 155th Street and 8th Avenue, Tupac had gone. I think that guy is an acting legend. So tragic that he is not with us anymore. GOD Rest his soul.

Question #3

You seemed to have worked through the betrayal on your career in Hollywood, but many other shining and revered black auteurs in the same period in the nineties seemed to have faded away as well; Matty Rich, and The Hughes Brothers, just to name two. What is your take on that supposed Black film renaissance and resurgence just disappearing into thin air?

The Cinematic Black Renaissance of the 90s is a unique epoch: we may see a resurgence of Black film in the age of President Barack Obama, but not like what we experienced two decades ago. Check it: nineteen films between 1989 and 1992-3, that had either Black producers, directors, and screenwriters? Nah. I think it was a phenomenon that kind of dovetailed with what the great author and cultural critic Nelson George wrote about in his book Post Soul Nation: we found our voice and our gravity as Black people in the oppressive and dismissive years of the Reagan era.

It was Jesse Jackson, it was Michael Jackson, it was Michael Jordan, it was Prince, it was Al Sharpton, it was Spike Lee, it was Barry Michael Cooper, Greg Tate, and Nelson George at the Village Voice. It was David Dinkins as mayor of New York. Reagan and the Reagan era had an intense disdain for Black folk, and Black folk responded by rising to the challenge and excelling in all endeavors, and that sense of pride and work ethic transposed itself to the world of film, too. However, I think we became complacent during the Clinton era. I believe rap and Hip Hop found a darker but profound voice during the Clinton era, but in film, we had a foolish sense of entitlement. And a lot of us--and I am speaking for myself--we lost our way. We thought the gates at Sony, Warners, Fox, etc., would stay open forever. But Hollywood not only eats its' young, Hollywood eats anything that's green. And when it's not green its not part of their menu anymore. So I believe a confluence of those factors led to a lot of folk losing their way.

Question #4

Do you think there is a double standard in Hollywood with bad behavior? Non-black Hollywood's DUI's, car crashes, drug addictions, and other even more questionable behavior seem to be overlooked--indeed sometimes even garnering more support for the persons involved. Hollywood and it's ilk usually seem to rally around those that have deep personal issues. Do you feel that Black Hollywood doesn't offer the same support systems? Is that why you weren't able to even work with your own community?

I don't think the double standard has anything to do with race: it lends itself to who makes the most money for the studios or networks. If you are a cash cow, you can almost kill with impunity, and get away with it. That's what fixers are all about, the highly-paid "sin eaters". If you are making money, you are valuable. It not, you become expendable. It has nothing to do with race. Look at the gossip blogs, look at the blind items, and if they are to be believed, then a lot of our popular icons in the Black community are living more off the hook than Caligula, lol. But as long as they make money for the studios and networks, their negative behavior will not only be protected, but encouraged. Once the dollar dries up though, their mugshots will be online, along with the tearful confessions on YouTube and Access Hollywood. You know the routine...

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)

The public can support idiosyncratic Black film, be it online, on cable, at the local art house cinema, or just buying the Dvd online at Amazon or Barnes and Noble. We can support these kind of films. Because at the end of the day, that ka-ching is the lever in the voting booth of Hollywood. We vote with our dollars and Hollywood needs that vote!

Question #6

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

I have transitioned into television: TV is really hot right now, and a gold rush for filmmakers, especially cable. Like the real estate mantra, "Location, location, location", in TV it's "Content, content, content". I produced the Season Three premiere of BET's crime doc series "American Gangster". The episode focused on the 80s Bronx gunman Larry Davis, and that particular episode was the biggest Original Series premiere in BET history, with 2 million viewers thus far. The episode aired 23 October 2008, but you can see the episode and the other episodes American Gangster on iTunes. Please order it! (lol) I also have an indie movie playing on the web titled "Blood On The Wall$" which can be viewed at www.citypaper.com/go/botw

I am also blogging for Huffington Post: http://www.huffingtonpost.com/barry-michael-cooper I am also doing a few more films and TV shows that will premiere online. When they are about to happen, IW, I will give you the scoop before anyone else.

Question #7

Any thoughts or advice you would like to leave for the readers? We have filmmakers as well as film lovers on this blog regularly.

My advice to other filmmakers out there is never, ever give up. With the advent of online cinema, the playing field is wide open. Do your own films, and premiere them online. If you post it, they will come, to paraphrase the catchphrase from "Field Of Dreams". And know that Providence will make a way out of no way. Even if you don't believe in GOD, believe in the Essence of this life that's bigger than you. Because cinema is about the belief of the unbelievable. So keep grinding, and don't give up.


From IW: Veeeery interesting. A testament that one should never give up, and keep it moving and keep it positive no matter what....loves it. Look for him on The Huffington Post HERE. Be blessed BMC!

Questions....

Okay, so I watched Katt William's "It's Pimpin Pimpin" last night. What is UP with that dude? He is so smart, and funny, and charismatic, but seems to go off the deep end in real life at an alarming rate (i.e. being committed by his family the other day). Disturbing. Is it a mixture of drugs that puts these celebs in the hospital/"retreats" for "exhaustion" and "dehydration", or just one big super-duper hellacious drug? I need answers, stat....

Who knew Condi Rice could look like this? Not me, that for sure.


Speaking of looks, is this really shit talking blogger Sandra Rose? Suddenly her extreme and obsessive hatorade on Beyonce and Ciara makes complete and total sense.


Is this her too?



Why am I absolutely not feeling Daniel Craig as James Bond? At all. He looks positively simian, with zero sex appeal (to me anyway). They broke the mold after Sean Connery, who had the swagger of fifty 007's. Bring on Clive Owen!


Was anyone surprised that Wanda Sykes came out as a lesbian? Not I.


Did you know Timbaland was producing movies? From The Hollywood Reporter:

Music producer Timbaland, born Tim Mosley, is making his first foray into Hollywood as executive producer of the upcoming feature “Vinyl.”

Timbaland’s Mosley Media Group is teaming with Effie T. Brown’s Duly Noted Inc. to produce the film, which follows five young women facing life-altering decisions about their relationships with members of a rock band.

Writer-director Richard Zelniker’s film is set to begin shooting in the spring, with Brown, Marcus Spence and Timbaland’s wife, Monique Idlett-Mosley producing.

The Mosleys plans to promote the film with behind-the-scenes content designed for mobile devices.

From IW: Timb's projects have all been non-Black for the past couple of years; by the sound of this project, he is probably continuing that trend.


Housekeeping stuff: you may notice some tired Google ads on my site lately--I am working on a project with a company called Yield Build in the Bay, don't be alarmed! :-)

The Art Of Guerilla Filmmaking--As Told By The Hammer

While rereading my interview with Barry Jenkins, I was reminded of an email sent over to me by Eric Easter, who writes a blog I enjoy very much, the Ebony/Jet blog "Big Ideas". It was about Fred Williamson's maverick filmmaking. Barry spoke of being creative on a small budget, as Fred Williamson does here (tho it was admittedly much hairier)--flashing back on making one of my Blaxploitation faves "Black Caesar".....great stories!

NO MONEY. NO PERMIT. NO PROBLEM.
Tales from Guerilla Filmmaking.
By Fred Williamson

The first in a series of conversations with the pioneers of Black film, No Money, No Permit, No Problem is a first-hand look at what it takes to get a movie done in the hard-scrabble world of independent and under - funded filmmaking.

We started with one of the originators – Fred “the Hammer” Williamson, who with his self-produced string of 1970s hits, broke open the door for independent Black film distribution in Europe.

Here, Fred talks about his favorite behind the scenes stories from the filming of the movies Black Caesar [and others]:

Film: Black Caesar
Location: New York

We made Black Caesar in 1975. One of the many memorable scenes is when my character, Tommy Gibbs (aka Black Caesar) exits Tiffany's jewelry store on the corner of 5th Ave & 57th St.

Tommy is carrying the famous little blue box, and starts to cross 5th Avenue. It's the middle of the day, there are lots of pedestrians bustling along the crosswalk with him, and about half way across 5th Avenue Tommy is shot. He continues, stumbling past unsuspecting shoppers.

We didn't have a permit to shoot on the street and getting one would have cost big bucks because we would have had to block the entire intersection and create a lot of chaos, so, we stole it. No one knew we were shooting - the camera was well hidden.

As I crossed the street and passed the shooter, we saw him pull out the gun - later in the studio we put in the sound of the gunshot. I had a big blood pack in my hand so that when I passed him and he shoved the gun into my side, I hit my side with the blood pack and blood splattered all over my light colored jacket.

I went down on the pavement. Cars were blowing their horns, people passed me as I lay on the street - they just walked around me and kept on going. Only one person stopped. He picked up the small blue Tiffany's box I dropped when "shot" and he handed it to me. I pulled myself halfway up and stumbled over to the curb, where I fell again and knocked over a large trash container on the sidewalk. Still no cops, so I continued to milk the "hurt victim" role. Finally a cop came by, took one look at me and said, "What the hell are you doing, Hammer, shooting a movie?" Before I could really answer, he continued, "Yeah, well you're in my street. So, I'm gonna walk around the block and when I get back you'd better be gone." "No problem," I answered.

He left, we left, and that's how that scene got made. (from IW: dang!)


Then there was this great taxi cab scene and we shot it on 56th Street between Lexington and Park Avenue.

As Tommy Gibbs, I was in a big hurry. I jumped into the cab, handed the driver some big money and told him to get going. The cab jumped up onto the sidewalk and flew past the cars on the street.

Problem was, no one was warning the pedestrians on the sidewalk that a speeding cab was coming at them. All the people you see in the film jumping out of the way, were real pedestrians scared out of their wits and just trying to save themselves.

We had one camera inside the taxi and one more on the street. We knew we could only do this once before the cops came, because - yup, you guessed it - no permit.

The taxi driver did what he was supposed to do for the money we gave him in the film. As for me, jumping out of a moving car was a little hairy, but you got to do what you got to do.

From IW: Gangsta! I remember reading about similar bold (or crazy) moves by William Friedkin while making "The French Connection". Check out this trailer for Black Caesar to see the taxi scene he talked about--it is a miracle somebody wasn't killed: