Governer's Awards Smiles
I’m big on the concept of Take Your Daughter To Work Days, so my daughter Helena attended the dress rehearsal for the Governor’s Awards.
Chris Rock References Reggie During Writerâ€™s Roundtable
Storm and Black Panther
I love your smile but hate this picture. Don’t know why this gauzy filter kicked in, but these are the only pictures of a historic meeting. That’s Halle Berry (Storm) and Djimon Honsou (The Black Panther), together at last!
You might be wondering why I was with Halle, Djimon and the Russo Brothers (makers of the amazing Captain America: The Winter Soldier) but I’m not talking.
Can I Kick It?
Me and the brilliant Tone Bell, one of the stars of NBC’s Bad Judge.
Here’s a clip from my episode.
While shooting, I told Tone about me directing Mr. Big Stuff for Heavy D and the Boyz and the posse jam Uptown’s Kicking It…both for 50k!
Tone invited me to his monthly comedy show, Can I Kick It, where he and his hilarious friends deconstruct old school videos and muse about their childhoods. My old videos were featured and it was funny as hell. A good time had by all.
Marry Me is one of NBC’s big hits of the fall season. I just directed an episode. Here I am with star Casey Wilson. Quit staring at that dope Captain America shirt I’m rocking.
I can’t believe I didn’t get pictures with the amazing Ken Marino, John Gemberling, Sarah Wright Wilson and Tymberlee Hill who are all as delightful to be with as they are talented.
But I did get a shot with Tim Meadows. We haven’t worked together since I directed him as the star of Ladies Man. He’s a different kind of ladies man in this show, as one of Casey’s two dads. We had a great time together. He’s a massive talent.
Posted on Tuesday, October 21st, 2014 by Angie Han
It seems Warner Bros. will not rest until every DC superhero has his or her own live-action adaptation. Not that we’re complaining. The latest comic book project announced by the studio is Static Shock, a live-action series to be produced by Warner Bros.’ new digital division Blue Ribbon Content.
At the center of the story is Virgil Ovid Hawkins a.k.a. Static, a young black geek with electromagnetic superpowers. Django Unchained producer Reginald Hudlin will executive produce. Hit the jump for details on the new Static Shock series.
THR has the full writeup of Blue Ribbon Content’s upcoming programming slate. Here’s the rundown of the Static Shock series:
Writer/producer/director Reginald Hudlin (Best Picture Oscar nominee for producing Django Unchained) leads the creative team behind a live-action adaptation of Static Shock, featuring the African-American super hero Static, aka Virgil Ovid Hawkins. Static Shock is based on the Static comic co-created by the late Dwayne McDuffie with co-writer Robert L. Washington III and artist John Paul Leon, which was originally published by the DC Comics imprint Milestone Comics and, later, by DC Comics. Milestone Media co-founder/comic book artist/TV producer Denys Cowan (the original Static Shock animated series) is collaborating with Hudlin on the new Static Shock.
Jason Scott Jones
Way back in the Analog Age my first professional pencilling assignment was a pinup of (incredibly inked by Jimmy Palmiotti! Boy did I hit the lotto) With the news in that Static is getting a show, I couldn't help but draw Static as I'd imagine him reacting to the news, for old times celebration sake. Congrats Everyone.
Reggie at the Academy of Motion Picture's new museum
Outside of the Academy of Motion Pictures' new museum, which is promoting their upcoming costume design exhibit, which is going to be incredible. This shot of Jamie Foxx from DJANGO UNCHAINED is the face of the exhibition.
CBR TV: Reginald Hudlin On Fan Backlash, Creative Relationships & "Django/Zorro"
Thu, August 28th, 2014 at 9:58am PDT
On gravitating toward Black characters and heroes who are forerunners: I like heroes. Those characters were all heroes, and unfortunately the media has a shortage of Black heroes. I grew up on the Black Panther, I loved the character. I loved all the Black super heroes -- I loved Luke Cage, I loved Storm. The pleasure of writing "Black Panther" was taking those characters have them have the conversations I always felt they were having in real life but didn't show up in the pages of the book. I'm like, "I'm sure Luke Cage thinks Black Panther's awesome. I'm sure that Luke Cage is really attracted to Storm, but Storm's not gonna give him any. I'm sure, conversely, Black Panther's hitting it." [Laughs] So let's put that in a book! That was exciting.
On the genesis of "Django Unchained" and the failure of most slave movies: With "Django," that just came out of a conversation that Quentin [Tarantino] and I had had years and years before about slave movies and how they almost always disappointed me. I always thought there was only one truly great movie about slavery, and it was called "Spartacus." And until we made a movie about that, about the American experience, I wasn't interested. Without the cathartic relief I can't take all the brutality. So "Django" was -- [Tarantino] took that broad concept and crystallize it into a really brilliant character.
On giving audiences the stories they crave and then receiving backlash for doing so: At this point I accept it as the cost of doing business. The reality is part of what's shocking and offending people that I think they're not aware of is that these stories are so rarely told that they are uncomfortable seeing them because they know that there are rules being broken. This is not business as usual and maybe they shouldn't be looking at this. ... I'm going there, I'm living there. What's also funny is that, after the fact, these things that are so shocking or accepted as "Well, of course," so that's happened pretty consistently over my career.
On maintaining positive business relationships: Business relationships are just that. I just feel like we're in a very tough business, we're in a very dynamic business, and it's really important to treat your partners well. And I just don't mean individual creators, I also mean, you know, make sure I have a good relationship with Marvel; to make sure I have a good relationship with Universal; to make sure I have a great relationship with DC; have a great relationship with a record company. These are all people -- obviously we know corporations are all people now. [Laughs] The bigger thing is like, these are individuals who bet on you, who committed to you, who put a certain amount of risk on saying, 'This person is good person.' You have to respect that. We may not agree with decisions that everybody makes, but you have to say, "Well, you know that worked well together and how do we maintain that?" That was one of the great benefits of being an executive, because I'm been a writer, a producer, a director -- I've had different jobs. To be on the other side of the desk and to say, "Oh, these are the relationships that are great. These are the relationships that are not great," so now when I'm back I remember that worldview that I developed being an executive and I try to be the best guy on the other side of the desk.
On how a Black Western became a bona fide hit despite the odds stacked against it: When you present a really good movies that happens to not have happened this year, people love it because it's an exciting story. So again, these false conclusions have nothing to do with reality. "Django Unchained," which -- talk about two questionable genres. You have a Black movie and a Western. Cut to us making a half a billion dollars worldwide. Okay? So Western movies don't travel, Black movies don't travel, but somehow this Black Western made money all over the world. Now, of course someone can say, "Well, here's all the reasons why that worked," butt he bottom line is, yeah, it was a good movie with talented people and it made a lot of money, so let's make another one of those. Don't act like, "That one's some crazy accident!" How many exceptional circumstances does it take before something is an actual trend.
On why there has to be a little bit of love in everything that you do: I'm always working on personal projects. At the end of the day, me directing TV earns way more money than me writing a comic book. But me writing a comic book is a pure expression of my creativity. And people go, "You did that thing I loved." So you've gotta do both. You've gotta do it all until such a point where you can only do what you love. But love must always be in the equation because love is transcendent and if you make something not because you think it's gonna make a lot of money, but because you love it, the audience responds to that love. There are people who go, "I hate that movie! Why do people like that filmmaker?" And I go, "Because he's not talking down to audiences. He's doing what he believes in." And that belief, that love, that act of love in that art form connects to people who are right there with him. It may not be for everybody -- it doesn't have to be. It has to be just for enough people that you keep making another one.
The week before my Hollywood Bowl Black Movie Soundtrack concert I shot an episode of BAD JUDGE, the new NBC series debuting this fall. Everyone in this picture is super damn funny and great to work with. Tone Bell, John Ducey, Kate Walsh and guest star Dan Bakkedahl just cut up every day.
Reginald Hudlin To Produce Academyâ€™s 2014 Governors Awards
Los Angeles, CA – Reginald Hudlin will produce the 6th Annual Governors Awards for the Academy of Motion Picture Arts and Sciences, Academy President Cheryl Boone Isaacs announced today. The Jean Hersholt Humanitarian Award will be presented to Harry Belafonte, and Honorary Awards will be presented to Jean-Claude Carrière, Hayao Miyazaki and Maureen O’Hara, on Saturday, November 8, at the Ray Dolby Ballroom at Hollywood & Highland Center®.
“With Reggie’s experience, unique vision and immense creativity, the evening celebrating those who have given so much to our industry is certain to be a memorable one,” said Boone Isaacs.
"I’m honored to be working with the Academy again,” said Hudlin. “The collective impact of this year’s Governors Awards recipients on the evolution of cinema is immeasurable. I’m a fan of all four of these legends, so producing a celebration of Ms. O’Hara’s performances, Mr. Carrière’s storytelling, Mr. Belafonte’s dedication and Mr. Miyazaki’s magic is a pleasure."
A writer, director, producer and pioneering entertainment executive, Hudlin received a Best Picture Oscar® nomination as a producer of “Django Unchained.” His feature directing credits include “The Great White Hype,” “Boomerang,” and “House Party,” which he also wrote; he also has directed episodes of such popular television series as “Psych,” “Modern Family,” “The Office” and “The Bernie Mac Show.” Hudlin recently produced “The Academy Celebrates the Black Movie Soundtrack” concert at the Hollywood Bowl and has executive produced the NAACP Image Awards show for the past two years. He is a member of the Academy of Motion Picture Arts and Sciences, Directors Guild of America, Writers Guild of America and Screen Actors Guild, and serves on the executive board of the UCLA School of Theater, Film and Television.
Toronto: Busy IM Global Sets Reginald Hudlin to Helm His ComicÂ Script
by Mike Fleming Jr
EXCLUSIVE: IM Global’s Stuart Ford has been in Toronto selling out to the walls on The Secret In Their Eyes remake as Julia Roberts joined Chiwetel Ejiofor and Gwyneth Paltrow. Now, he’s just set up a new film here. They’ve set Reginald Hudlin to direct and produce an untitled comedy which he co-wrote, with CAA selling the domestic rights and Hudlin producing through his Hudlin Entertainment banner. Hudlin, fondly remembered for helming the sleeper hit House Party, most recently was Oscar nominated for producing the Quentin Tarantino-directed Django Unchained. Hudlin wrote the script with Chris Spencer (Real Husbands of Hollywood) and Eric Daniel. He separately wrote the graphic novel The Black Panther for Marvel Comics and exec produced the animated series, and he has directed episodes of TNT’s Murder in the First and the upcoming NBC shows Bad Judge and Marry Me, and the Fox sitcom Weird Loners. He has a deal at Fox 21 and is also producer of the NAACP Image Awards. IM Global’s Ford and Matt Jackson will be exec producers and IM Global will sell international. Hudlin’s repped by CAA and attorney Darrell Miller while Spencer is repped by Parallel Entertainment.
Craig Robinson and Reggie
Before The Academy Celebrates the Black Movie Sountrack at the Hollywood Bowl, 9/3/2014 (it was the 3rd of September...)
Review: Five things we learned from the Bowl's black movie music salute
Chuck D, left, with Flavor Flav onstage with Public Enemy at the Hollywood Bowl Wednesday night. (Craig T. Mathew / Courtesy L.A. Phil)
By GERRICK D. KENNEDY
The most revered black films aren't just beloved for all-star casts or compelling plots -- the soundtracks were just as pivotal. From “Do the Right Thing” to “Boomerang” and “Waiting to Exhale,” the music that scored these was just as lasting.
In a salute at the Hollywood Bowl on Wednesday, beloved tracks from black cinema classics such as “Shaft,” “The Bodyguard” and “Purple Rain” received an orchestral treatment. Grammy-winning musician/composer Marcus Miller and producer/director Reginald Hudlin assembled the show, which covered seven decades of soundtracks.
Clips of iconic black actors like Dorothy Dandridge, Sidney Poitier, Harry Belafonte and Sammy Davis Jr. flashed alongside current box-office draws like Will Smith, Morgan Freeman and Jamie Foxx as the Hollywood Bowl Orchestra breezed through arrangements. Bilal, Anthony Hamilton, Public Enemy, Lalah Hathaway, Princess and En Vogue all popped up to sing and Craig Robinson served as the master of ceremonies.
Here are five things we learned from "The Academy Celebrates the Black Movie Soundtrack" on Wednesday.
1. Anthony Hamilton and Bilal are undervalued soul men. The instant ubiquity of the themes from “Shaft” or “Trouble Man” can’t be denied and the orchestra, led by Vince Mendoza, tackled them with soulful precision. But Hamilton and Bilal unpacked them both with a suave swagger that reminded us how underrated these guys are. Hamilton shined further when he turned the Quincy Jones-composed theme to “In the Heat of the Night” into a scorcher.
2. Maya Rudolph’s Princess needs a bigger stage. The “Saturday Night Live” alum’s perfected self-deprecating humor has already made her a screen star. But her music chops remain underappreciated outside of her fanbase. Her side-gig, a hilarious take on the rock cover band – Prince, if the band’s name didn’t tip you off – offered the night’s best laughs (apologies to the host). Rudolph and her bestie Gretchen Lieberum are like the boozy gals who turn the boring wedding reception into a rager. Their takes of “Let’s Go Crazy” and “Purple Rain” were a deliciously messy, crowd-pleasing riot, and an easy sell for a big-screen musical.
3. En Vogue’s still got it. The funky divas have gone through more changes than we dare try to count, but the ladies haven’t lost any of their signature sultriness. Their cover of the “Sparkle” classic “Something He Can Feel” was a stunner, even if all the original members weren’t there.
4. “Happy” is tired. We all love Pharrell William’s gleeful pop smash. It’s completely perfect and deserving of the accolades it’s received (there’s some Grammys likely coming its way too). The song is a global phenomenon, but we need a break from it. Williams' hit closed the show courtesy of the night’s performers and a slate of cute kids with bright T-shirts and an endless supply of jazz hands. For a night celebrating the black movie soundtrack, capping things off with a sluggish performance of a hit pulled from a kids' flick without a black voice in the main cast seemed odd.
5. Public Enemy can rock the Bowl. Twenty-five years after its release, Spike Lee’s “Do the Right Thing” remains a crucial look at racial tensions within neighborhoods. But the film also birthed one of Public Enemy’s greatest records, “Fight the Power.” Seeing the politically charged anthem ring out at the Bowl as Chuck D and Flavor Flav worked the stage was a reminder of hip-hop's lasting influence. But seeing the thousands of fists waving in the air to the music was a poignant reminder that the fight is long from over.
The Black Movie Soundtrack promo
This is a promotion of the show at the Hollywood Bowl during the salute to James Brown…or was it during John Legend’s tribute to Marvin Gaye’s What’s Going On? In any case, we were in the house!
Reginald and Alexander in a biplane
Reginald and Alexander Hudlin prepare for a biplane flight over Martha’s Vineyard to celebrate Alexander’s 7th birthday.
Reggie And Friends At Comicon
New friends, old friends…SDCC had all the above, like this picture of Edgardo Miranda-Rodriguez, who I worked with on the Marvelous Color comic book art exhibition several years ago and is currently editor of the great new DMC comic book series! Edgardo and I had never met in person before but our friendship deepened even more as we joked about the supposed health benefits of pig guts in Latin and Black American cuisine!
The lovely lady in the middle is Marjorie Liu: writer on Astonishing X Men, attorney, novelist and teacher at MIT!
Together the three of us form a rainbow coalition of kickassery!
My man Edgardo and me with DMC, one of the founding fathers of hip hop, promoting his new comic book series. Darryl is a really nice guy, and we have a very animated conversation that amused the crowd that was patiently waiting on his autograph.
If Fellini had stuck to cartooning instead of becoming the cinematic master of neo-realism and surrealism…he would be the Hernandez Brothers. Each so talented and unique (even from each other) as writers and artists. I can’t believe they finally won their first Eisner after decades of great work.
Bucket list: Jim Steranko was a huge influence on me as a young man. His innovative art and writing in Captain America and Nick Fury: Agent of Shield ushered in a new generation of storytelling in the late 1960s. He would combine Orson Welles, Salvador Dali and 60s psychedelica to radically reinvent the medium. His two-part HISTORY OF COMICS was hugely impactful to me both in its thorough layout of the golden age of comics and as an artist who was also a historian. Jim was an escape artist in his younger days, and after comics, helped design INDIANA JONES!
Jim’s recent reappearance in the public eye (especially his hilarious Bob Kane story on twitter) has been a treat to fans. It was a pleasure to finally meet him and thank him for his contributions.
The man to the left taking the picture is storyboardist and all around great guy Warren Drummond with his son, Josh.
Here I am with Milestone co-founder Denys Cowan and Sergio Aragones, he of the great little cartoons in the margins of MAD magazine and the long running Groo comic. Sergio is one of the all time great ladies men. While Denys was telling me about how Sergio could stare at a beautiful woman walking toward him down the street and seduce her by the time they were face to face, a lovely young woman walked up to him and started a flirty conversation.
I was lucky enough to work with brilliant artist Ken Lashley at the end of my Black Panther run, but hope to collaborate with him next year as well. Here he is with his two daughters and Kevin Grevioux, scientist, actor and creator of the UNDERWORLD franchise. I had a better picture of Kevin, but Ken’s expression was good I went with this one. Sorry Kev.
There was also a Milestone panel this year, which focused on the legacy of Afro Futurism (expressed over the decades through artists like Sun Ra, George Clinton, The Wu Tang Clan and Janelle Monae) as well as the history and future of Milestone comics and the curious origin of the Black Panther animated series.
Host Phil LaMarr kept it peppy and lively, while panelists Selwyn Hines (VOODOO CHILE) and Milestone founders Denys Cowan and Michael Davis took turns rocking the mike. I did what I do.
John Sempter is a legendary writer who has worked on the Spider Man, Hulk, Static Shock and Ghostbusters animated series, as well as the Kid and Play movie I didn’t make - Class Act. John himself is also a Class Act!
Bill Seinkowicz and Denys Cowan – legendary artists, great guys, despite Denys’ sinister expression…have teamed up on my new book! I can’t wait till you see it next year! Their collaboration is seamless!
HEF stalwart Sam Wilson represents to the fullest at all times. Thanks for introducing me to Magarie Liu! You, Keith Kopinski and Joe Thomas Jr. hold it down at all times!
Even hardware stores in downtown San Diego are getting in on the act with namesake Milestone characters. Best Comicon ever for me. Can’t wait till next year.
Reggie At San Diego Comicon 2014
Comic-Con 2014: Quentin Tarantino on the Django-Zorro crossover
Director joins panel Q&A on Dynamite's comic-book sequel to his western – and confirms next project The Hateful Eight
Emma-Lee Moss, theguardian.com, Sunday 27 July 2014 20.42 EDT
The publishing imprint Dynamite Entertainment, which celebrates its 10th anniversary this year, will publish the first non-film sequel to a Quentin Tarantino movie in November, with a comic book featuring Django Unchained's Django alongside Zorro, the long-running character from the Dynamite universe.
Senior figures from Dynamite gathered at Comic-Con in San Diego, California, to discuss the Django/Zorro crossover and premiere its artwork, along with its writer, Matt Wagner, Django Unchained's producer, Reginald Hudlin, and Tarantino, who was the main draw for most.
The panel discussed the genesis of the idea briefly, then opened the floor to questions – mostly from Tarantino fans but with a fair number expressing a particular interest in the crossover and the Dynamite stable as a whole.
Tarantino, using the word "mate" enough to come a across a little pirate-like, was friendly and conversational, dropping hints about future projects, and at one point offering encouragement to a filmmaker fan. He also confirmed that The Hateful Eight, a forthcoming film whose future was in doubt after a script leak, was going ahead.
Here's the Q&A as it happened:
Who approached who about doing this collaboration?
Reginald Hudlin: Nick [Barrucci of Dynamite Entertainment] and I have been friends for a long time and as Django Unchained was about to come out, before it had even premiered, Nick called me up and said: "I've got an idea: Django meets Zorro." So me and Quentin had dinner and I told him the idea, and Quentin said…
Quentin Tarantino: I loved the idea. One of the things that I liked so much, I grew up reading western comics and entertainment in general, whether it was the Zorro comics, or the Disney show, or Zorro's Fighting Legend. What I thought was such a great idea was taking the most famous fictional Mexican western hero, and putting him together with one of the most famous black western heroes.
RH: They both have O at the end of their name. He said: "Black and brown fight together." What i like about Quentin is we have the same political agenda.
Zorro has met other people in the Dynamite universe, he's met the Shadow, the Lone Ranger. How is this going to differ? How will you be blending the two atmospheres?
Matt Wagner: They are both opposed to oppression. Django's approach is a little more personal, a little more deadly. Django is civil war era, and Zorro comes into prime in 1815, so i thought maybe we'll have a new incarnation. But Quentin shot it down, he said: "No, it has to be old. It has to be your Zorro," and that instantly worked for me. Quentin brought up that after years and year of posing as the fop Don Diego de la Vega, he has kind of become that character. He's become fastidious and old and he likes cucumber sandwiches…
QT: he's dedicated to teatime. And his prairie perfumes. But don't get us wrong – he puts on his costume and kicks ass.
What did Jamie Foxx think about Zorro and Django meeting up?
QT: I bumped into him a few months ago and he thought it was a fantastic idea. He was like: "Can we make a movie of this? I'm their man. Let's get Antonio. Let's do this."
Do you have any hand in drawing? I know you're not a stranger to animation.
QT: Twenty years ago when I was going around the world on movie promo – I was never able to draw when I was younger – but a friend of mine is a sketch artist, and he sort of taught me. When I was going promoting Reservoir Dogs, I started getting into it. I'm only good at drawing caricatures of myself. Like if I was in England, I'd be me and a bobby, or in Scotland it would be me and Nessy. Then it kind of went away.
When does this sequel take place?
QT: They're both older.
MW: We're just on the cusp of the civil war. One thing we can reveal is that Django's not with Brunhilda. He blew up a whole plantation of white people, so he's had to separate himself from her for her own safety.
QT: He dropped her off in Philadelphia and she's working for the abolitionists. she's telling her story to make money.
RH: That was a very real business – people doing lecture tours to make money for the movement. She would have been the perfect poster girl.
QT: Meanwhile, Django is still a bounty hunter.
What is your favourite scene in a movie of yours?
QT: I actually think the best scenes I ever wrote are the Hans Landa and the French farmer scene in Inglorious Basterds, and in the first script I ever wrote, True Romance, the whole "Sicilian" scene between Dennis Hopper and Christopher Walken. I like all the stuff I'd done after that but I knew I'd never topped that scene. When I wrote the scene in Inglorious Basterds, I thought "I finally matched it". What was weird, once I wrote that I couldn't write the rest of the story. I had to put it away, but I knew I had to finish it because it was too good a scene to go to waste.
In regards to the Tupac song in Django, are you a big Tupac fan?
QT: Yes, i am, and he was a fan of mine. I remember him and Snoop Dogg were doing a movie company and they did a press conference announcing this and said: "We're getting Quentin Tarantino to do a movie for us." When we approached Tupac's mom she said: "Yeah, he loved Quentin Tarantino's movies, he would be happy as a clam to be in it." In choosing the song, what happened when we met the record company is they put an unreleased song on the sampler, and we called and said: "Can we use that?" and they said: "If you make the deal with us you can, and if his mom says OK."
Reggie, as editor on these comics, are you trying to hold anything back?
RH: My job on the Django movie was actually to make it more crazy. I would go on set and say things like "Django doesn't look tired enough," "That fire's getting low – let's get some kerosene." With the comic books, I'm "editing" 'cos there's no producer credit on comics. We knew this would be an adaptation that was unique, so we just had fun. And I told him: we should not stop here, I love it, you love it, let's keep playing.
I was at the reading for The Hateful Eight. It would make me so happy if can you confirm if you are going to be doing it?
QT: Yes, we are going to be doing The Hateful Eight [audience member pretends to collapse]. All for you. We weren't sure about it but I just decided just now.
Are we ever going to see you direct a sci-fi or fantasy film?
QT: If you had asked me a few years ago I would have said: "Nah, not really, I don't know." But i have a little idea right now. It's a little flower, you know, like a bean sprout, but those tend to grow into stalks. So this is the first time I'll be able to say "maybe". It won't be a spaceship sci-fi, it'll be Earthbound.
Would you ever take on an existing franchise?
QT: A series that I would like to put a spin on is the Invasion of the Body Snatchers. I want to take it from the pod people's perspective, so you're actually rooting for the pod people. I don't think they're so bad.
Is Dr Schultz going to make an appearance in the comic?
QT: I actually wrote this one scene, another Schultz arriving in a new town and talking his way out, that I couldn't put in the finished script, but I always liked it, so when I was talking to Matt I said: "Why don't we just take this whole scene how I wrote it, and stick it in whole like a flashback?' There's also a whole chapter that Brunhilda had, that didn't make it in the film as it broke up Django's story. People have this problem with Brunhilda as a damsel in distress, but I say she is. She is the princess in an evil castle, held by an evil kind. And Django is a knight. Brunhilda is a black woman who he loved so much that even when he is extricated from this terrible situation he still goes further than hell to save her. And people need to see that, girls need to see that, boys need to see that.
MW: I don't see her as helpless at all. In that final silhouette, you see her pick up his gun and prop it on her shoulder. And that's not helpless.
QT: No, she's not at all. When he finds her, she is being punished for trying to escape. And at the end of the film you know that the story is far from over, they still have to escape the south. But now you know he meets up with Zorro, so they make it out.
Have you noticed that Django now shares the Dynamite universe with Shaft?
QT: Yes, I expect to see a comic in the future where he talks about great-great-great-grandmother Brunhilda.
Matt Wagner, Quentin Tarantino, me, Nick Barrucci and Joseph Rybandt right after the SDCC Django/Zorro panel.
Murder In The First Smiles
Me and fellow director Allison Anders on the set of MURDER IN THE FIRST
James Cromwell and I on the set of MURDER IN THE FIRST
Black Movie Music At The Hollywood Bowl
Coming Wed, September 3rd
Marcus Miller and I have been working together since I asked him to score the original HOUSE PARTY back in 1989. From BOOMERANG to the pilot of EVERYBODY HATES CHRIS, we had a lot of success together.
Our latest collaboration is BLACK MOVIE MUSIC, a celebration of black music in the movies from STORMY WEATHER through SHAFT, SUPERFLY, PURPLE RAIN all the way through to HAPPY! The music will feature the Hollywood Bowl Orchestra, Marcus Miller and an all-star band, and all kinds of guest stars and cool video clips from your favorite movies. Here’s a video I did to give to give you a feel for the event:
This has nothing to do with my concert but here’s recent footage of Marcus Miller in Morocco jamming with Moustapha Baqbou at Festival Gnaoua et Musiques du Monde.
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