Ava Berkofsky, 'Insecure’s director of photography, was brought on for the show’s second season (currently airing on HBO) to give the show a more movie-like look, which includes making black faces not only legible, but striking.
“When I was in film school, no one ever talked about lighting nonwhite people,” Berkofsky said in a phone interview with Mic. “There are all these general rules about lighting people of color, like throw green light or amber light at them. It’s weird.” These rules are a start, but they’re far from a complete picture.
“The conventional way of doing things was that if you put the skin tones around 70 IRE, it’s going to look right,” Berkofsky said. IRE, a unit used in the measurement of composite video signals (named for the initials of the Institute of Radio Engineers), ranges from 0 to 100. “If you’ve got black skin, [dialing it] up to 50 or 70 is just going to make the rest of the image look weird.” The resulting image looks very bright, Berkofsky noted, similar to what you’d see in traditional sitcoms like The Fresh Prince of Bel-Air or The Cosby Show." –Mic
READ the entire article about lighting black skin on Insecure @ Mic HERE and WATCH the great video below.
Here is a YouTube playlist comprised of African American actors. Most of the interviews are from SAG-AFTRA acting union's "Conversations" video series with actors, but MORE have been added from other platforms and are continuing to be added.
Click below to watch!
See our other posts about acting by clicking the graphic below
Great video by Vanity Fair enumerating the salary of EVERYONE on the film set of a blockbuster film makes. As Jay-Z said "Men lie, women lie, the numbers don't!"
Found via website Shadow & Act, a series of videos courtesy of “The Off Camera Show” with host Sam Jones – featuring several actors like Don Cheadle, Michael B. Jordan, Tatiana Maslany (“Orphan Black”), Robert Downey Jr., Ethan Hawke, Jake Gyllenhaal, Krysten Ritter (“Jessica Jones”) and Kevin Bacon.
Topics discussed include the auditioning process, building backstory for characters they play, prepping for roles, playing multiple characters simultaneously (in Maslany’s case), working with acting coaches/mentors, and more.
As Shadow & Act said “If you’re an actor (especially if you’re still new to the craft), you may get something out of what they each share about various aspects of the work. And if you’re a filmmaker, you may learn something here as well."
See more videos embedded together at Shadow & Act by clicking the graphic below
Last year for the Maryland Film Festival was totally surreal. The festival started three days after the curfew was lifted following the Baltimore Riots (also called the Freddie Gray riots, the Baltimore Uprising, the Baltimore Unrest etc). It was a tumultuous time in Baltimore. Baseball games were being played without crowds, people were afraid to come into the city, the police were still dealing with after effects of the unrest. It was a heck of a time to have a film festival, but MFF did and I was a part of it.
At the festival, one of the first feature films I saw was also a surreal moment. As I said then "Do The Right Thing in Baltimore a week after the Baltimore Riots"
Seeing that classic film that captured racial strife so brilliantly a week after the riots was just wild. It was quite a somber moment in the city at that time and this screening was equally somber.
The next day I attended a great panel, "A Work in Progress: Writing Race". As the Baltimore Sun put it:
In the wake of unrest in Baltimore, a panel discussion [A Work in Progress: Writing Race] at this week's Maryland Film Festival will feature four notable writers whose works touch on Baltimore, race or some combination thereof: "The Wire" creator David Simon; Pulitzer Prize winner and Baltimore writer Taylor Branch; National Book Award winner James McBride; and essayist and commentator Ta-Nehisi Coates, a National Magazine Award-winning editor at Atlantic magazine.
From Left to Right: Ta-Nehisi Coates & David Simon
All four men are working on the script for the upcoming HBO mini-series, "America in the King Years," which is being produced for HBO by Simon's Blown Deadline Productions. It is based on Branch's three-volume history of the Civil Rights movement.
(You can see video of the "A Work in Progress: Writing Race" panel at the end of this post.)
That next day it was my pleasure to introduce the film Girlhood at the festival.
I really loved that film and it was my pleasure to present it to the MFF audience. You can read my review of Girlhoodhere )
I was planning on seeing several other films after Girlhood, but I was asked to do this.
CLICK for a bigger view
BREAKING NEWS: MFF announces a discussion about filmmaker responsibility and engagement with the community from 3pm-4pm in the Tent Village! All Tent Village panels are FREE and open to the public! Our Tent Village is located in the east lot at the MICA Lazarus Center (131 W North Avenue).
This panel will feature Stanley Nelson, director of MFF 2015's THE BLACK PANTHERS: VANGUARD OF THE REVOLUTION; Steve Hoover, director of MFF 2015's CROCODILE GENNADIY; Ramona Diaz, director of DON'T STOP BELIEVIN': EVERYMAN'S JOURNING; and Chip Dizard, director of OH, BALTIMORE. The panel will be moderated by Dankwa Brooks, Multi-award winning writer and director of MAKING HISTORY.
I guess it was my turn to be on a panel LOL, but a chance to moderate a panel with a filmmaker I admired–no brainer!
I had a chance to hang out with Stanley Nelson before the panel at the festival and it was really a great moment. The panel went really great as well as our filmmakers had great answers about filmmaker responsibility and community engagement.
Top left to right: Stanley Nelson and Dankwa Brooks
Bottom left to right: Steve Hoover, Chip Dizard and Ramona Diaz
We covered issues like telling your story without exploitation and more. A really great discussion.
Later on that evening was the Maryland Film Festival premiere of
Black Panthers: Vanguard of the Revolution
Of course I was right there, it was another great film by Mr. Nelson and I wasn't the only one to think so! Here’s video of the audience reaction from the 'Nother Brother Entertainment Facebook page.
(I wrote more about Mr. Nelson on the 'Nother Brother Entertainment blog here )
So as you can see I had an extremely busy time at the 2015 Maryland Film Festival and even though it was busy it was still a blast!
You can see all of our posts about the Maryland Film Festivalhere
A year ago today I went back home to Brooklyn for the 25th anniversary screening of Do The Right Thing with Spike Lee and cast and crew in attendance. Before that I’ve seen Do The Right Thing many times before, but never on the big screen and this was quite the experience.
First of all this was my first time in actual Brooklyn in like forever. I’ve been to New York plenty of times, but not in Brooklyn. My family moved to Queens and I would go to see them. When I saw this screening advertised online I knew I had to be there!
BAMcinématek and the Academy of Motion Picture Arts and Sciences present this 25th anniversary celebration of Spike Lee's masterpiece, presented on the Steinberg Screen at the BAM Harvey Theater. In this landmark Brooklyn classic, the streets of Bed-Stuy boil and tensions run high on the hottest day of the year. Loaded with an amazing supporting cast (including Samuel L. Jackson, John Turturro, and Rosie Perez) and music by Public Enemy, Do the Right Thing swings effortlessly from satire to social commentary, and 25 years after its controversial release it remains an important cultural touchstone for a very different Brooklyn.—BAMcinématek
In attendance were actors from the film Rosie Perez, Danny Aiello, Bill Nunn, Joi Lee, Rick Aiello,Production Designer Wynn Thomas,Line Producer John Kilik and Editor Barry Brown and of course Writer/Director Spike Lee.
Ironically, I had a chance to see Do The Right Thing twice more on the big screen since then. The last time a week after the Baltimore riots (which was a surreal moment) at the 2015 Maryland Film Festival. Of the subsequent times I’ve seen it, I have to say that the Brooklyn screening was the LIVEST!
After they announced the cast and crew of the screening and Spike Lee made his introduction, the audience ERUPTED in cheers as Rosie Perez danced in the opening credits.
The biggest cheer came the first time Ruby Dee came on the screen. Ruby Dee died just 18 days before this screening. Of course the next big cheer came when Ossie Davis first appeared on screen. The cheering never occurred in the subsequent screenings. I knew I was home in Brooklyn.
Ruby Dee and Ossie Davis
The audience laughed at exactly what they were supposed to laugh at, but the BIGGEST laughs came from every scene with "the corner men" anchored by the late great Robin Harris.
After the screening they had a Q&A with the cast and crew
From right to left: Dr. Khalil Gibran interviewed Spike Lee, Rosie Perez, Danny Aiello, Bill Nunn, Joie Lee and Rick Aiello at BAM's Harvey Theater in Fort Greene on Sunday night for the 25th anniversary of Do The Right Thing. Photo by Rob Abruzzese.
I went to New York for the whole day and had a great time seeing friends and family, but it was special to be at this screening of my favorite Spike Lee Joint with the cast and crew and very special to be back home in Brooklyn.
Pic I took that day June 29, 2014
Below you can see two clips from the Q&A I was proud to be there to witness.
In this first clip Production Designer Wynn Thomas, film editor Barry Alexander Brown and Line Producer Jon Kilik discuss the making of Do the Right Thing.
Voice director and casting director Andrea Romano chats with host Chris Hardwick about her long career as being a casting director and voice director in animation and working on shows such as Justice League, Batman: The Animated Series, Pinky and The Brain, Animaniacs, The Smurfsand many, many more.
She also gives her advice for anyone who wants a career in voice acting as well asEXACTLY where you can go to get voice work. She is a legend in the industry, look her up or LISTEN below and you'll see why.
_____________________________________________ CASTING AN EMPIRE
Empire's Casting Director Leah Daniels-Butler (sister of show creator Lee Daniels) talks about how and why she made the casting decisions for the breakout show on the AfterBuzz TV online broadcast network.
In a recent article Daniels-Butler states
"Rather than focus on who is not on ‘Empire’ we should be celebrating the actors who are doing amazing work week after week," Daniels Butler said in a press release. "Fans are in love with Cookie and Lucious because the actors who give life to the characters they portray are delivering award winning performances."
"There so many wonderful people that help make this show a #1, like the fantastic job Jussie Smollet (Jamal Lyons) is doing, and I cannot say enough about Kaitlin Doubleday (Rhonda Lyons) who had the unique challenge of filling a diversity role and does it seamlessly,” she added. “Why not celebrate those people?"
After discovering the likes of Gabourey Sidibe for the lead role in 2009’s “Precious,” Daniels-Butler also went on to praise the “growth” of breakout star Bryshere Y. Gray and applauded the musicianship of the “enormously talented" Ta'Rhonda Jones.—Huffington Post
You can go directly to the segment she talks about here and you can watch the entire show below.
Produced by Ivana MacKinnon, Fiz Oliver Executive Producers - Katherine Butler, Ollie Madden, Chris Collins, Phil Dobree, Eva Yates
Editor - Adam Biskupsi Cinematographer - Chloe Thomson Production Designer: Paul Nicholls & Jonathan Gales Visual Effects Supervisor: Paul Nicholls
Starring
Daniel Kaluuya
Malachi Kirby
and Louis Mahoney
Synopsis Mbwana and his best friend Juma are two young men with big dreams. These dreams become reality when they photograph a gigantic fish leaping out of the sea and their small town blossoms into a tourist hot-spot as a result. But for Mbwana, the reality isn't what he dreamed – and when he meets the fish again, both of them forgotten, ruined and old, he decides only one of them can survive.
REVIEW
This visually stunning film is an example of how success can change a community and a friendship. Everyone wants success, but can they handle that success? The film starts out with great humor and excitement and then before your eyes turns into a visual delight.
As the ENTIRE FILM is below my commentary, I don't feel the need to go further. See for yourself. Who said change is good? Be careful watch you wish for.
COMMENTARY
Never even heard of this film before this event tonight
As a proud AFFRM Maverick I always get notifications of events like this and get to discover pure gems like this film. Founded in 2011, African-American Film Festival Releasing Movement a.k.a. AFFRM is a theatrical distribution entity powered by the nation’s finest black film festival organizations.They have been holding steadfast to pushing and promoting black films like Jonah and I think that is great! I never heard of this film, but because of AFFRM I'm glad I have!
Linked below are many of the posts about AFFRM here at the 'Nother Brother Entertainment blog below the film.
Additional Links
I have written about AFFRM extensively on this blog since its inception. See all the posts here
The Huffington Post put together an excellent short film about diversity at the Academy Awards. In 2010 on our Sista blog Cool Black Media I put together a list, African American Milestones at the Academy Awards, detailing a lot of what is stated in this film.
Diversity in film has been a recurring theme on our blog and you can read those posts via the graphic below the video.
CLICK the graphic below to see all of our blog posts about diversity
In May of 2014 Quentin Tarantino had Press Conference at the Cannes Film Festival to talk about the 20th Anniversary of Pulp Fiction. It was the only film at this year's Cannes to be projected in 35mm and that led Tarantino to extol the virtues of "photochemical film".
Around the 5 minute mark, responding to 35mm film stock:
“As far as I’m concerned digital projection and DCP’s is the death of cinema as I know it. It’s not even about shooting your film on film or shooting your film on digital. The fact that most films now are not presented in 35mm means that the war is lost. Digital projections…that’s just television in public…and apparently the whole world is ok with television in public, but what I knew as cinema is dead!”
I totally agree! I don't have a home theater, but I have a 1080p television, a Surround Sound system and watching the current movies on BluRay is about the same resolution just not on a HUGE screen like they have in theaters.
Tarantino next uses the 1960 film Breathless to prove his point.
Poster for Breathless
A little after 17 minutes
“If you’re showing a new print of ‘Breathless’ or hell even an old print of ‘Breathless’ in a cinema whoa whoa that’s worth leaving the house and going into a theater to watch it, but to watch a digital version of it? Well my Criterion is just fine. I don’t need to go and watch television in public. So I don’t see any reason why to leave the house when home theaters are so good and the presentation on these digitals on the DVDs are so good. Why would go and see that at the theaters? 35mm which most people don’t have in their house. Well that’s a reason. “
I completely agree with that too! I usually go to film festivals to see new films, but in 2011 I went to this screening of an old film that I never saw before to see it in 35mm.
The film was excellent, but beside that it looked TERRIFIC! I have a lot of discussions online extolling the virtues of film myself, but I wanted to present my argument from a director far more renown than I.
One of the PRIMARY things I tell my mentee actor/filmmaker Jineara
Hampton (pictured right) is “maintain
your artistic integrity!”
I tell her not to just take a role and or work on a production you
think is inferior just for the experience or the money. So far she has listened.
LOL.
Denzel Washington shares a story below about how he maintained his “artistic
integrity”, very early in his film career, with advice from a famous “mentor” of
his.
All it took to set people off in Henrico County, Va. was a simple cartoon about racial inequality.
Last week, Glen Allen High School hosted a presentation about racial privilege as part of Black History Month, The Washington Post reported. Part of the event involved screening a video called "Structural Discrimination: The Unequal Opportunity Race."
The video, produced by the African American Policy Forum, shows a running track where racers of colour are being held back, while white athletes run laps around them. Its intent was to demonstrate how people of colour have been oppressed by forces such as genocide, slavery, and racist laws.
But parents complained about its content. Henrico County Public Schools initially stood by its decision to allow the video, but pulled the clip two days later.
Don Blake, whose granddaughter attended the presentation, didn't like the clip at all. He called the cartoon a "white guilt kind of video" in an interview with television station WWBT. "They are sitting there watching a video that is dividing them up from a racial standpoint," he said. "I think somebody should be held accountable for this."
Glen Allen student Kenny Manning found the video offensive, but he didn't feel it hurt people, ABC affiliate WRIC reported. "A lot of people thought it was offensive to white people and made them feel bad about being privileged," he told the network. "There is oppression going on in the world, and that needs to be looked at with a magnifying glass, I guess."
I donated to AFFRM because I wholeheartedly believe in what they’re doing.
Founded in 2011, African-American Film Festival Releasing Movement a.k.a. AFFRM is a theatrical distribution entity powered by the nation’s finest black film festival organizations. The collective theatrically releases quality independent African-American films through simultaneous limited engagements in select cities.
Our mission at ‘Nother Brother Entertainment has always been to further propagate diverse images through development of films, and that means supporting others who do the same. The film reviews on this blog are here to highlight good black films and AFFRM is committed to doing the same.
They believe like I do that film should be seen on the BIG SCREEN and that means theatrically. Not just theatrically through staggered release around the country, but through simultaneous release. Their films open all around the country on the same day.
As you can imagine doing something like this isn’t free and it isn’t cheap. I’ve followed AFFRM online since its inception and they do a great job at promoting their films in a grassroots manner, so when it came time for them to raise money to further their mission I had to donate.
In reality, any film that makes it to the marketplace through “straight to DVD” and or VOD (Video on Demand) (digitally on televisions and other mobile devices) is great, but films were made for the cinema, the “silver screen” and AFFRM values that. I’ve also been trying online to get them to add a regular theatrical stop in Baltimore. I’ve been to many successful black indie film premieres here and I feel that there’s a market.
Anyway, I’m proud to join the other, so far over 600, AFFRM Rebels to help propagate black film!
Watch their video about becoming a Rebel below.
Click the graphic below to see the Rebel Wall of proud AFFRM Rebels
Additional Links
I have written about AFFRM extensively on this blog since its inception. See all the posts here
Found this clip courtesy of SWAN (Morgan State University Screenwriting and Animation) More information about SWAN at the bottom.
For the record, I generally enjoy all of Tyler Perry’s films. Perry’s movies ARE disarming in order to slide a message in there. People are more likely to watch a Madea flick than ‘Precious’, while an amazing film is horribly depressing, and yes “poverty porn”. I think we can have hamburger and prime rib as long as we know the difference between the two.
In the end, I think people can take things too seriously, it’s all make believe.
Also for the record, I studied screenwriting at Morgan State University's Writing for Television program (Now SWAN -Screenwriting and Animation) and it was an excellent program. Even though I wound up getting my degree (in film) from Towson University, I tell people all the time “Everything I learned about screenwriting, I learned at Morgan State!”
Click Morgan's logo below to read more about their Screenwriting and Animation program.
A cinematographer is one photographing with a motion picture camera (the art and science of which is known as cinematography). The title is generally equivalent to director of photography (DP), used to designate a chief over the camera and lighting crews working on a film, responsible for achieving artistic and technical decisions related to the image.-Wikipedia
Basically a cinematographer is the person behind the actual camera and making sure everything is lit right (with electrical lights or through natural lighting using bounce cards (reflectors) Pictured below)
From cinematographer Dustin Farrell, below is some amazing time lapse photography.
A year's compilation of my time lapse work. All shot on the Canon 5D2 and processed in Adobe After Effects. The majority of the shots are in my beautiful home state of Arizona. Goblin Valley State Park and Natural Bridges National Monument in Utah also make an appearance. Most of the motion control for this video was done with the Stage Zero Dolly by Dynamic Perception. In addition to the Stage Zero, I also used a three axis motion controlled CamTram.-Dustin Farrell
In the below video several people were arrested for staging a fake robbery for a music video. Thankfully no one was hurt, but the cast and crew was justifiably arrested. I say justifiably because it was a "misguided" idea in the first place and after the video I explain why.
Everybody wants to play “cops and robbers”. They think it’s cool and adds a heighten sense of danger and it does, when done properly. A lot of people want to go out and shoot an “action scene” without the necessary precautions. A real weapon, even unloaded, on a film set is NEVER wise. A real weapon is unsafe for a myriad of reasons, but one only need to look at the tragedy of Brandon Lee.
On March 31, 1993, while making The Crow, the crew filmed a scene in which his character walks into his apartment and discovers his fiancée being beaten and raped by thugs. Actor Michael Massee, who played one of the film's villains, was supposed to fire a revolver at Lee as he walked onto the scene.
Since the movie's second unit was running behind schedule, they decided to make dummy cartridges (cartridges that outwardly appear to be functional but contain no propellant or primers) from real cartridges by pulling out the bullets, dumping out the propellant and reinserting the bullets. However, the team neglected to remove the primers, which, if fired, could still produce just enough force to push the bullet out of the cartridge and into the barrel (a squib load). At some point prior to the fatal scene, the live primer in one of the improperly constructed dummy rounds was discharged by an unknown person while in the pistol, leaving the bullet stuck in the barrel.
This malfunction went unnoticed by the crew, and the same gun was later reloaded with blank cartridges and used in the scene in which Lee was shot. When the first blank cartridge was fired, the stuck bullet was propelled out of the barrel and struck Lee in the abdomen, lodging in his spine. He fell down instantly, and director Alex Proyas shouted "Cut!". When Lee did not get up, the cast and crew rushed to him and found that he was wounded. He was immediately rushed to the New Hanover Regional Medical Center in Wilmington by ambulance, but following a six-hour operation to remove the bullet, Lee was pronounced dead at 1:04 pm on March 31, 1993. He was 28 years old.- Info from Wikipedia
An Unsolved Mysteries segment expertly breaks down exactly how this mishap happened. WATCH on YouTube starting HERE
As an independent filmmaker I’m all for “getting the shot”, but it should always be safety first. A DP (Director of Photography) I was working with wanted to get a shot of the ground in a moving car hanging out of the window and I said “ABSOLUTELY NOT!”. His safety wasn’t worth a shot. If we couldn’t afford a car mount (Examples below) we weren’t going to get the shot.
Camera car mounts
In this era of heightened security, the independent filmmaker must also be aware of what could be seen as a possible security threat. At a Legal Rights for Filmmakers seminar I attended a story was told about filmmakers getting footage of water towers and being detained by police. Now you can only venture to guess what can happen if you are getting footage of government buildings, major bridges etc. They exclaimed DO NOT try to get that kind of footage without notifying the police.
I’m aware that sometimes as an independent filmmaker you must also try to get some footage “guerrilla style”, and don’t have money or time to get the proper notifications and permits, but sometimes you must be smart and err on the side of caution and safety.
FEBRUARY 2014 Sarah Elizabeth Jones was a camera assistant on the film Midnight Rider when she was struck and killed by a train on set in rural Georgia February 20, 2014. The Hollywood Reporter did an extensive feature on the accident HERE
Interviews with- Alan Young, Producer, Parks and Recreation, Karen Horne, Vice President (Entertainment Diversity Initiatives, Comedy & Drama Programming). NBC & Universal Media Studios, Halsted Sullivan, Supervising Producer, The Office. Alsha Muharrar, Executive Story Editor, Parks and Recreation Dan Harmon, Executive Producer/Showrunner, Community.
Sponsored by WGAW Committee of Black Writers
Moderated by David Wyatt, Chair, WGAW
Writing in Color, 1 of 4: Getting started in comedy writing In this episode, the panelists discuss how they got started in comedy writing.
Writing in Color, 2 of 4: Stereotypes In this episode, the panelists talk about how "The Office," "Parks & Recreation" and "Community" deal with ethnic stereotypes in different ways.
Writing in Color, 3 of 4: Dan Harmon on why he's obsessed... In this episode, "Community" creator/showrunner Dan Harmon discusses why he's obssesed with race Part 3 of 4
Writing in Color, 4 of 4: Writing "race neutral" characters In this episode, the panelists debate whether it's better to include race when writing TV characters or write them as "race-neutral."
CLICK the graphic below to see all of our blog posts about diversity
External Link-
Found out about this series from the great website Shadow & Act. Click their logo below to check them out.
Yes there is a big diversity problem as there has ever been in Hollywood. I personally started my company to try in my little way to combat that. Hence the mission of 'Nother Brother Entertainment is "To further propagate diverse images through development of films."
I was tired of seeing substandard television in particular featuring African Americans ...something I have been keenly following for about 20 years now and I totally agree with the excerpts below.
Below is an excerpt from the editorial "SURVEY – It’s Time To Put Up Or Shut Up! (About That “Hollywood Whiteout” Problem)-February 24th, 2011" at the great website Shadow & Act
Loooong time readers of Shadow And Act will be familiar with what follows below – initially posted on May 29th, 2009, almost 2 years ago, and only about a month after Shadow And Act was launched. Seems like an eternity. But it’s been a fun ride.
In light of recent articles and the conversations that they inspired, I thought I’d repost it as, in effect, my response to all the noise. I’m referring specifically to the New York Times article titled Hollywood Whiteout, by Mahnola Dargis and A.O. Scott, that was printed on February 11th. ...
That article was sent to me by several of you, wondering if I would respond to it on S&A, but I really have had no interest in doing so. It seems like an annual occurrence now – mainstream media articles are written lamenting/criticizing/analyzing the film industry’s “diversity problem.” We all share them, discuss them, etc, but, ultimately, little, if anything, actually changes… until the next year, when the cycle only repeats itself and another batch of “Hollywood Whiteout”-style pieces are written, shared, discussed, and so on.
...
So… what I see and hear here is just more of the same – a lot of analysis, criticism and whining, with little actual action to go along with it. And I’m over that! I also see a lot of reaction instead of proaction. The New York Times (or some other mainstream media site) pens a critique of the film industry’s so-called diversity problem, written by whites usually, and we all jump… because it’s the New York Times. Meanwhile, here on Shadow And Act, we’ve been talking about this sh** forever; and not only just talking about it, there’s actually action to support all the talk! Eff the New York Times! I don’t need them to tell me that there’s a diversity problem! Do you? Isn’t it evident? Hasn’t it been evident since the medium was invented? We’re certainly not the first to have these discussions. Our parents, grandparents and even great-grandparents had the exact same discussions.
Written by Tambay-Shadow & Act read the entire editorial and excellent discussion (in their comments section) at their website here
I don't have much more to say than those sections I excerpted above. IT HAS been the same ol’ song and things probably won’t change that much. We just have to do what we can to ensure that our stories are being told. There have been success stories like the independent film I Will Follow (Read more about that here and the return of a cancelled show (which NEVER happens) The Game (Read more about that here )
Ultimately I recently came to the realization that as much as WE (African Americans) want to see our images and stories on the screen so do THEY (Caucasians) and they control the studios, distribution etc.
I have tried to explain distribution and give light to a new distribution model for African American films at the links below. Why Distribution is Important
'Dexter' 10th Anniversary
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*Blog Post #23*
Back in August 2011, I
Season One promo image
I have FINALLY seen Dexter Season Five thus, I have now watched all five
seasons of De...
