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When August Wilson Insisted on a Black Director for a Hollywood Adaptation of 'Fences'. · If you ever watch a spy movie, you’ve doubtlessly seen some nameless tech character sweep a room for bugs using some kind of detector and either declare.
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When August Wilson Insisted on a Black Director for a Hollywood Adaptation of ‘Fences’…Reactions to Tanya Steele’s “The Gentrification of Black Film” piece published earlier today (in which she argues for opportunities be given to black filmmakers to tell stories about black people, because, in part, “one has to be connected to the experience of the subject”), I remembered similar essays discussed on this blog, like John Singleton’s “Can a White Director Make a Great Black Movie?” most recently, for example. In the piece, Singleton lamented the fact that a number of recent films that tell stories about real- life black people, or that are based on our history (like films about Jackie Robinson, James Brown – which Tanya’s piece focuses on – as well as “Django Unchained” and “The Help”) are increasingly being handed over to white writers and directors – within the Hollywood studio system specifically. And he questioned the trend, arguing that there are indeed what he calls “cultural nuances and unspoken, but deep- seated emotions that help define the black American experience,” suggesting that black writers and directors are better equipped to appreciate and express those nuances and emotions on screen, more- so than their white contemporaries. He even further suggested that maybe Hollywood needs to pass a “Rooney Rule like the NFL,” which requires that team owners/managers interview at least one *minority* candidate when looking to fill head- coaching jobs – the correlation here being that studio execs should be required to interview at least one “minority” candidate when looking to hire writers and directors for jobs – something that will likely ever happen, and shouldn’t be expected! Despite what might be considered a provocative title, Singleton didn’t really make any earth- shattering revelations (at least to us), although I assumed that he’s motivation was to hopefully reach the many industry people who read The Hollywood Reporter, and start a conversation on the matter. Did it work? I can’t say just yet. But it’s a matter that we’ve addressed a few times on S& A, whether directly or generally, by likely all of us who contribute to this site.
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Maybe the most direct of them all was this piece I shared on the old S& A site, 5 years ago – an essay by the late African American Pulitzer Prize- winning playwright, August Wilson, which was first published in Spin Magazine, the October 1. New York Times op- ed piece. Titled “I Want A Black Director!,” consider it another item to throw into our ongoing deconstruction of what we broadly call “black cinema.”On a related note, some of you may already be familiar with Arthur Jafa’s theories in his essay titled “Black visual intonation” – essentially, an ongoing search for cinema that is aesthetically black, turning to black music for inspiration. Without further ado, here’s Wilson’s op- ed which I think directly hits on past articles published on this blog on the question of who gets to tell *our* stories. It’s truly astonishing, and even depressing that, a long 2.
BEGINI Want A Black Director!“I don’t want to hire nobody just ’cause they’re black.” Eddie Murphy said that to me. We were discussing the possibility of Paramount Pictures purchasing the rights to my play “Fences.” I said I wanted a black director for the film. Watch The One That Got Away Online Free HD. My response [to his remark] was immediate. Neither do I,” I said.
What Mr. Murphy meant I am not sure. I meant I wanted to hire somebody talented, who understood the play and saw the possibilities of the film, who would approach my work with the same amount of passion and measure of respect with which I approach it, and who shared the cultural responsibilities of the characters. That was more than three years ago. I have not talked to Mr.
Murphy about the subject since. Paramount did purchase rights to make the film in 1. What I thought of as a straightforward, logical request has been greeted by blank, vacant stares and the pious shaking of heads as if in response to my unfortunate naiveté. I usually have had to repeat my request, “I want a black director,” as though it were a complex statement in a foreign tongue.
I have often heard the same response: “We don’t want to hire anyone just because they are black.” What is being implied is that the only qualification any black has is the color of his skin. In the film industry, the prevailing attitude is that a black director couldn’t do the job, and to insist upon one is to make the film “unmakeable,” partly because no one is going to turn a budget of $1. That this is routinely done for novice white directors is beside the point. Watch Removal Download. The ideas of ability and qualification are not new to blacks. The skills of black lawyers, doctors, dentists, accountants and mechanics are often greeted with skepticism, even from other blacks. Man, you sure you know what you doing?”At the time of my last meeting with Paramount, in January 1. I don’t know his work, but he is universally praised for sensitive and intelligent direction.
I accept that he is a very fine film director. But he is not black. He is not a product of black American culture- a culture that was honed out of the black experience and fired in the kiln of slavery and survival – and he does not share the sensibilities of black Americans. I have been asked if I am not, by rejecting him on the basis of his race, doing the same thing Paramount is doing by not hiring a black director. That is a fair, if shortsighted, question which deserves a response. I am not carrying a banner for black directors.
I think they should carry their own. I am not trying to get work for black directors. I am trying to get the film of my play made in the best possible way.
As Americans of various races, we share a broad cultural ground, a commonality of society that links its diverse elements into a cohesive whole that can be defined as “American.”We share certain mythologies. A history. We share political and economic systems and a rapidly developing, if suspect, ethos. Within these commonalities are specifics.
Specific ideas and attitudes that are not shared on the common cultural ground. These remain the property and possession of the people who develop them, and on that “field of manners and rituals of intercourse” (to use James Baldwin’s eloquent phrase) lives are played out. At the point where they intercept and link to the broad commonality of American culture, they influence how that culture is shared and to what purpose.
White American society is made up of various European ethnic groups which share a common history and sensibility. Black Americans are a racial group which do not share the same sensibilities. The specifics of our cultural history are very much different.
We are an African people who have been here since the early 1. We have a different way of responding to the world. We have different ideas about religion, different manners of social intercourse. We have different ideas about style, about language.
We have different esthetics. Someone who does not share the specifics of a culture remains an outsider, no matter how astute a student or how well- meaning their intentions. I declined a white director not on the basis of race but on the basis of culture.
White directors are not qualified for the job. The job requires someone who shares the specifics of the culture of black Americans. Webster’s “Third New International Dictionary” gives the following character definitions listed under black and white.