Soiled Britches and Atomic Elbow from New Natin
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Shut Your Pie Hole Dave Chappelle’s new job
That’s A Friend with Damien Wayans
Shut Your Pie Hole Diddy shows what to do with a lot of money
Learning Stuff with Caitlin Upton
Bones Cast Members
Last Of The Django Interviews
I haven’t had a chance to post this Django interview until now, and while I liked the finished product, the whole interview should appear somewhere someday. It was good stuff. I got a few folks to laugh, cry, and rethink the whole black image question. Only a little of that is in this version.
CAA/Blackhouse Event Smiles
Some of the lovely ladies at the CAA/Blackhouse event.
2013 Oscar nominees Denzel Washington (best actor), Quvenzhane Wallis (best actress) and Reginald Hudlin (motion picture of the year).
Earlier that week my old Harvard roommates were wishing me luck, which led into a cool conversation about the Heisenberg Uncertainty Principle. The short version is that anything could be in the envelope until it is opened. I share the observation with others, but Christoph is the only person who gets it…and builds on the notion.
Here’s what’s crazy. Our friends rewound and did a freeze frame of the live shot, shot this screen grab and texted to us in the theatre as it was happening. I love living in the future.
I later find out this is the first of a half dozen times I ended up camera during the show. Sitting near Christoph, Reese Witherspoon and the star of LIFE OF PI worked out well for me.
Quentin’s Oscar. He earned it.
QT, my agent Cameron Mitchell and I strike a pose. After the Award show is over, we hit the Governor’s Ball. We had not eaten since 2pm so thank goodness there was great food from our friends Wolfgang Punk and his wife Galila.
After the Governor’s Ball, we headed to the Fabled Vanity Fair Party. Here is Jamie Foxx with the beautiful daughter. He usually has family with at important events like this.
Jamie is always great with the media. A total entertainer.
We came, we saw, we were seen, we partied. Time to go home, sleep, and get up and start climbing the mountain again tomorrow.
CAA/Blackhouse Dinner For Reggie!
Black achievement in Hollywood really isn’t recognized, let alone celebrated as much as you think it is. It’s usually a fight for respect from white institutions and maybe a well intended but poorly executed tribute from black institutions. So when Blackhouse (and black film support organization) and CAA (my new agency) came together to throw this incredibly nice event for me, it was shocking just because it happened. One of the attendees, one of the highest ranking black executives in music, told me he was totally inspired because “this NEVER happens”.
Verdine White of Earth Wind and Fire, Congresswoman Maxine Waters, me, Ali LeRoi, creator/producer of ARE WE THERE YET? and many other fine entertainments. Thanks for the classy picture Ali!
Django Comic Book Update
Did you know that the first issue of the DJANGO comic book has gone into its THIRD printing? Did you know you can order AUTOGRAPHED copies of the first three issues at www.reggiesworld.com? Well, now you do so order yours TODAY!
The Oscar Luncheon
The Oscar Luncheon is one of the three key Oscar events. First is the Governor’s Ball, which I attended, but took no pictures of. It was great, but since I have no documentation to share, I”ll just move on to the next event, which was the Oscar Luncheon. This is an event where you can take a guest, which is not always the case. So most of these fine pictures are by my wife.
The event itself is at the Beverly Hilton, which we were just at for the Golden Globes. In the lobby, I run into Phil Alden Robinson. Phil is an amazing filmmaker (FIELD OF DREAMS, SNEAKERS, the last TOM CLANCY movie), a deeply committed social activist, and a fun and wonderful person. I never spend as much time with him as I want to. Last time we talked we discussed doing an adaptation of a comic book property together…I think I’ll try again this year.
Anyway, here we are. He immediately got me involved in doing more the Academy, which I’d like to do anyway.
Once you get inside, there’s a line of press and you take a picture with Hawk Koch, who is running the Academy. Hawk has already made some good innovations this year, like making the shorts films available on DVD. This is a great step forward in making the membership able to make an informed vote on all the films.
Inside, the room is cool and blue. There are sexy red drinks everywhere. All the nominees are there. It’s a star studded room.
There’s a black guy in the room I don’t know. In a room with very, very few black people, I can’t believe there’s a guy there I don’t know. So I go meet him. Turns out that Christopher White is ALSO an Oscar nominee for his special effects work on THE HOBBIT. He went to New Zealand ten years ago for a six month gig and has been there ever since. He’s now got dual citizenship. What a success story!
After lunch, they start calling names one by one. When you name is called, you go stand at the amphitheater set up in one corner of the room for the official photo.
It goes on a long time. My fellow producers are up there. Most people are. Not me. I quietly start to panic. Has there been some horrible mistake?
Then…it’s my turn. I step up. The only other time I felt like this is when I graduated from college. We are the class of 2013. It feels glorious.
I stand where they tell me. I look behind me – Robert DeNiro. Then Helen Hunt stands next to me. Then Stephen Spielberg (the last name called) stands next to her.
I feel very good about where I am in my life.
Afterwards there’s mad press by the pool so me and my fellow producers Stacey Sher and Pilar Savone go take pictures and do interviews with different outlets.
At this point we’ve got the three people talking thing down smooth.
People rarely use an interview with a producer –stars and directors are preferred – but we had fun!
One of the best parts of being nominated for an Oscar is that they interviewed my mom for an Oscar special. She got the first and last word!
Reginald Hudlin on 'Django' Oscar Nod
By Aisha I. Jefferson
Black Academy Awards Series: The producer reflects on his diverse career and the n-word in the film.
As we gear up for the 2013 Academy Awards, airing Feb. 24, The Root is speaking with black Oscar winners and nominees -- past and present -- about the prestigious honor.
(The Root) -- There's a chance that Django Unchained producer Reginald Hudlin could make Oscar history. His controversial Quentin Tarantino film, which premiered last Christmas, garnered five Academy Award nominations, including best picture, a nod that Hudlin shares with its two other producers. Even though Hudlin, 51, is the fourth African-American producer to be up for a best picture statuette, a win could make him the first to actually snag it.
This honor may be the Centreville, Ill., native's first by the Academy of Motion Picture Arts and Sciences, but he's been a player for more than 20 years. In 1990, a few years after graduating from Harvard University, Hudlin teamed with his older brother, Warrington, who served as a producer, for his feature film directorial debut with the hit House Party, starring Kid 'n Play. Two years later, he followed up with another hit, Boomerang, starring Eddie Murphy, Halle Berry and Robin Givens. The movie's soundtrack launched singer Toni Braxton's career.
Since then, Hudlin's added an array of projects to his repertoire including directing episodes of hit TV shows such as The Office and Modern Family, as well as writing and producing for the Marvel Comics series Black Panther and its animated series. He also did a three-year stint as BET Networks president of entertainment and executive-produced this year's NAACP Image Awards. And Hudlin's not done yet. "I just took my coat off. I still have a lot of work to do," he jokes.
The Root caught up a busy Hudlin, who talked about Django Unchained's feedback, African Americans' depiction in the media and the criticism BET receives.
The Root: How has your life changed professionally since you were announced as an Oscar nominee?
Reginald Hudlin: Things are lot more intense. There's certainly a lot of excitement. There's a lot of opportunity. I think what's encouraging is that people look at me and my interests in a broader way. When you're fortunate to have early success, you kind of get typed in a certain way. So with the success of House Party and Boomerang, it's like, "Oh, he's a funny guy. He makes really classy funny movies." But obviously in the 20 years since then, I've done a lot things. I think Django has made people look at the whole body of work that I've done. People have taken a reassessment of who I am, saying, "Yes, we've been looking at you one way but now we have to reconsider you in a broader way." And that's great.
TR: Were you surprised by some of the feedback Django Unchained received?
RH: Well, you know, the feedback has been overwhelmingly positive … People have seen it multiple times. Afeni Shakur -- Tupac Shakur's mother -- has seen it four times. Dick Gregory has seen it, I don't know, 16 times. [Laughs.] I get these emails that are so touching. This woman wrote me [saying] she had to get out of her seat and go into the lobby; she was crying because all her life she was taught that black men don't support their [black] women. And when she saw the film she just realized she had been told a lie, and she just had to compose herself and go back in and watch the rest of the film.
The tragedy is that there are a million movies about men going to save their women, going to save their wife. But I can't think of the past 10, maybe 20 years, where there's a story of a black man who's going in to help save his woman.
TR: For the number of people who really enjoyed this movie, there's a sizable group who did not -- with many of the detractors citing the use of the n-word as reason. Does this surprise you?
RH: The fact is that the movie is very honest about the horrors of slavery, and the linguistic violence is the least of what's shocking and hurtful and provocative in this film. So when people latch on to that, I just presume that they haven't seen the movie, which means they don't know what they're talking about. And I can't be concerned with people who talk and don't know what they're talking about, because if you're talking about something that you don't know, then you're embarrassing yourself.
I feel that the film does a service to people because it recouples the word with its original intent, which was to belittle and demean black humanity. One of the reasons there's so much debate over the use of the word [in the film] is because there's so much debate over the word, period. And obviously there's a long legacy of hurt with the word. There's also a large movement of people who are about transforming or defanging the word. In the past generation, kind of from Richard Pryor up through hip-hop, [there's been debate between those who embrace its usage and those who oppose it], and both sides feel pretty strongly about their attitudes about it. And Django is yet another field of skirmish on a very longstanding battle within the black community over the use of a term.
TR: Louis Gossett Jr. told The Root that he lived in a time when the n-word was used for malice, and that the word still bothers him.
RH: It should disturb you. You should not feel comfortable -- that was never the intent. It's a horrible word, and there's a horrible spirit behind it. That's very much the intent when you have a character like Calvin Candie played by Leonardo DiCaprio, who's very handsome, very charming, and at the same time you see the evil that that character's capable of. That's the lesson for all of us, because that's the world we live in.
TR: Some people feel Django Unchained was able to be made because a white man, Tarantino, told the story. Do you think a black man could have done a movie like this where the victimhood is taken out of slavery?
RH: Sure they could have. Look at the movie The Legend of Nigger Charley (1972) with Fred Williamson. That's a movie I saw when I was kid, and Fred "The Hammer" Williamson is not a victim. He whooped ass all through that film. It's not a film on the same scale of Django Unchained, but he wanted to get it made, and he got it made. And it was successful enough to be made into a sequel -- The Soul of Nigger Charley (1973) -- which they even had a quasi-sequel to that, Boss Nigger (1975). I have to note, if you may have noticed all three of those films have the word "nigger" in the title, yet somehow black people -- who are really the only people who went to see those films -- supported them enough for there to be three of them.
I guess some people would say we are more sensitive [today]; some people would say we're soft. I don't know. I think the point is that we are at a different place as a culture than where we were back then.
TR: How did your first film, House Party, contribute to the black cinematic landscape?
RH: It's a very important film because it was a genre film. That kind of teen comedy is a stable in Hollywood. And I grew up watching them myself, watching Animal House and watching American Graffiti, Risky Business and the John Hughes movies -- The Breakfast Club, Sixteen Candles, Ferris Bueller's Day Off. Those movies had a huge impact on me growing up. And I didn't understand why we didn't have movies like that about our lives.
So when [House Party] came out, and it cost $2.5 million and it made $27 million at the box office -- it made 10 times its money back. It was one of the most profitable independent films of that decade. It really sent a signal to Hollywood that wait a minute, these movies are just movies. We can make genre films from a black perspective, and audiences -- black, white and otherwise -- will embrace them. It was a very important milestone in contemporary black cinema.
TR: Despite your former employer BET's efforts to expand its programming beyond its BET: Uncut days, there are those who are holding a grudge against the network. Is this fair?
RH: I think there's a lot of frustration that black people have with their entertainment choices, period -- not just BET, but at everything that's been made available to us in movies and in television. And that's an interesting contradiction. We have more black entertainment product available than ever before -- more movies, more TV shows, more all of this stuff -- yet people are not happy with what they are getting.
I think that speaks to a couple of different issues: One, we as an audience are more diverse than ever before, and you're not going to get the consensus that you used to be able to get in terms of what black people want other than everything. And I think there's also a challenge where there's still too much formulaic product out that feels like it's more pandering to an audience as opposed to being -- and this may sound like a contradiction -- both crowd-pleasing and artistically ambitious.
TR: One of the primary complaints against reality shows such as All My Babies' Mamas -- which Oxygen scrapped after people petitioned it -- is about the limited and unfavorable depictions of African Americans.
RH: For white audiences, they can watch Here Comes Honey Boo Boo or Swamp People because they also have all of these doctor shows and lawyer shows that show what people presume is normal white households. Now, I don't know what is a normal white household. Maybe it's more like Honey Boo Boo than Modern Family. But there's a presumption from a media perspective that Honey Boo Boo is an outlier, but the presumption is the most extreme black behavior featured in reality shows is a normal, because we are not as well represented in scripted programming.
That's one of the reasons why people like a show like Scandal. First of all, it's a great show. Shonda Rhimes is great, Kerry Washington is great, the cast and ensemble are great. And those characters aren't perfect, but they're fascinating and wonderful, and we're completely engaged. And that's the example of "Hey, we want to have choices and options. And done at a certain quality level." And Scandal certainly does.
NAACP Image Awards on the Runway
Garcelle Beauvais, Frieda Pinto, Halle Berry and Kerry Washington at the Image Awards.
For â€˜Djangoâ€™ producer, an unexpected Oscar ride
By JAKE COYLE, AP Entertainment Writer
‘Django Unchained’ producer Reginald Hudlin talks about the project
From left producers Stacey Sher, Reginald Hudlin, and Pilar Savone pose for a portrait during the 85th Academy Awards Nominations Luncheon at The Beverly Hilton Hotel on 4 February in Beverly Hills, California. Hudlin is the most prominent African-American behind the scenes of the hit film ‘Django Unchained’. Photo: AFP
“I didn’t think it was happening when it was happening,” Hudlin says, laughing. The wide-ranging career of the 51-year-old filmmaker has included a three-year stint as president of entertainment for BET, executive producing TV shows like The Boondocks, writing the Marvel comic book Black Panther and directing episodes of Modern Family and Everybody Hates Chris.
So when Tarantino called up Hudlin to ask if he wanted to help produce Django, he was stunned. “Quite frankly, I just didn’t believe him,” Hudlin recalled in a recent phone interview from his home in Los Angeles. But Hudlin had long known Tarantino, who told him that a conversation they had had years earlier about Hollywood’s depictions of slavery (or lack thereof) helped lead Tarantino to write Django Unchained.
A week later, Hudlin was in Louisiana scouting locations for the film that would eventually land five Academy Awards nominations and gross more than $340 million worldwide. He shares the best picture nomination with producers Stacey Sher (who produced Tarantino’s Pulp Fiction) and Pilar Savone (who has risen in Tarantino’s productions since being the director’s assistant on Kill Bill).
Hudlin is the most prominent African-American behind the scenes of the hit film, which courted the black community ahead of its release and mostly won its support. Spike Lee was one notable exception. (He refused to see it, saying “American slavery was not a Sergio Leone spaghetti Western. It was a holocaust.”) And a limited-edition line of action figures of the film’s characters—including slaves and slave-owners—drew protests and eventually the dolls’ withdrawal from sale. “We knew from the beginning that we were working with nitroglycerin,” says Hudlin. “Was there a tremendous amount of discussion and conversation and analysis to make sure we were calibrating this thing exactly right? Absolutely. It was explosive material, but I always had confidence that as a team, we would deliver the right movie.”
For Hudlin, Django represents the kind of film he’d like to see more of: original movies with multi-ethnic casts that don’t reuse well-trod genre tropes. Django goes against the conventional thinking that neither films starring black actors nor Westerns can find large audiences abroad. It’s been a huge success internationally, taking in more than $187 million. “If those historical models were always correct, we wouldn’t be talking right now,” says Hudlin. “Those films travel because the world is represented in those films. The audiences are voting with their dollar saying: We want more diversity.”
The success of Django has already spawned much chatter about a possible sequel, which Hudlin grants he’s had “extensive conversations” with Tarantino about. But for now, he’s planning to just enjoy the Oscars, which he’ll attend with his wife and mother. With Ben Affleck’s Argo the generally accepted front-runner, Hudlin says he’s not “polishing my acceptance speech,” but proudly going as only the fourth black best picture nominee. “Hopefully,” he says, “there will be a day soon where we don’t count anymore.”
THE RESULTS ARE IN!
This has nothing to do with me or Django, it’s just funny.
Django Unchained Music
There’s a lot of bangers on the DJANGO UNCHAINED soundtrack…I love the score cues and the original music. Here’s one from John Legend and one from the RZA.
Django Unchained: The Comic Book
Django Unchained: The Comic Book
Issue #2 is on stands now….or you could order autographed copies of both issues via www.reggiesworld.com!
Interview: Reginald Hudlin On His Oscar Journey, Working w/ RZA, Directing Again, More
SHADOW & ACT started their coverage on DJANGO UNCHAINED with a very tough, negative tone. I appreciate that they have been more opened minded as the story has unfolded. This could have been a really mean piece, but it was quite lovely and I really appreciate it.
by Masha Dowell
"Hudlin is a modern-day Gordon Parks, a true monster in the game that totally re-did the blueprint: what some people used to call a renaissance man. I dig him because he made me think outside of the box. Hudlin writes and directs movies, pens a comic book, and he was running BET. That’s multi-tasking for your ass."
The resume of the Oscar-nominated producer, Reginald Hudlin, reads like a who’s who list of Hollywood. He has worked with the best in black Hollywood, and the best in mainstream Hollywood. He is one of the major visionaries of the modern black film movement. He began his career creating movies like HOUSEPARTY, BEBE’S KIDS, and BOOMERANG.
He produced Quentin Tarantino’s latest film DJANGO UNCHAINED, starring Jamie Foxx, Leonardo DiCaprio, Robert De Niro, Christoph Waltz, Samuel L. Jackson and Don Johnson. The film has won two Golden Globe awards, has been nominated for five Oscars, and it is on track to be the top grossing Western of all time.
On Monday night, Shadow and Act caught up with Mr. Hudlin right before he gave the keynote address at the 2013 Pan African Arts and Film Festival. He spoke very briefly to us about the highlight of his Oscar season journey, his partnership with RZA, whether he'll direct again, his thoughts on the state of black Hollywood, and a little more.
Shadow and Act: Congrats on your Oscar nomination! Can you tell us about one highlight from your Oscar journey so far? It’s all so exciting.
Reginald Hudlin: Thank you. It’s been surreal. I was at the annual Oscar nomination luncheon the other day and there is a moment during the program where everyone nominated is called to stand up in front of everyone. When my name was called, I realized that Robert De Niro was standing behind me, Helen Hunt was on my other side, and Steven Spielberg was right beside her. It felt amazing to be among a group of people of that caliber.
Shadow and Act: What more can you tell us about your new partnership with RZA in terms of what brought you two together, as well as what else we can expect from the partnership in terms of projects you're working on, or considering, and if there's a timeline for when you want to start pushing films out?
Reggie Hudlin: RZA and I have been friends for a long time. We both have the wonderful experience of working with Quentin Tarentino. RZA is a guy that is very encouraging and giving to other filmmakers. He’s just that kind of spirit. And that’s nothing that you see with everybody. We always love the same things, Kung Fu movies, and a Black Nationalist side to us. We always wanted to kind of work together, and we asked ourselves aren’t we doing that? There’s one project and were putting together the cast, and were working on some other projects in development.
Shadow and Act: Will you direct again?
Reggie Hudlin: Absolutely! There are no projects that I can talk about yet.
Shadow and Act: - Talk about the positive and not-so positive changes you've witnessed in Black cinema over the years, since you and your brother came on the scene with the successful House Party movies, through today, 20 years later.
Reginald Hudlin: There was a period that black film had no chance of making it in Hollywood. So, people just made the made the statements that they wanted to make. Whether it was a science fiction film or whatever, b/c they were just making movie for themselves. Then there was a period where people were creating projects as their Hollywood audition ‘pieces’. I feel that today we are moving back to the era where we all have our own voices.
Shadow and Act: Are there any young filmmakers that you have your eye on?
Reginald Hudlin: Hadjii made a splash at Sundance a few years ago with the film, “Somebodies.” We actually gave him a scripted TV series at BET and it had incredible reviews. I believe that he is one of the many talented filmmakers to watch. Peter Ramsey was the storyboard artist on ‘Boomerang.’ He’s another one to watch.
Shadow and Act: There's been some talk about the current young generation of filmmakers not being aware of the work of their predecessors, and even not honoring and respecting them. As one of those who's been around for a bit, coming up during that late 1980s, early 1990s black cinema boom, a who made some iconic black films, any thoughts on that?
Reginald Hudlin: Young filmmakers are supposed to be the young turks that advance the current state of filmmaking ideas. At the same time, if you don’t know your film history or knowledge, then you are not in the game.
Shadow & Act: Can you tell us about any of your upcoming projects?
Reginald Hudlin: I just produced the 2013 NAACP Image Awards, which garnered really high ratings. I have several projects in development for TV and film.
Jamie Foxx On Oprahâ€™s Next Chapter
I got a shout out from Oprah during her interview with Jamie Foxx. Wow.
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The Man Who Helped Unchain â€˜Djangoâ€™
Here’s a wonderful article profiling me in the Wall Street Journal. The Journal did a really important story on me at the beginning of my career before the launch of HOUSE PARTY, so their support means a lot to me.
By A.D. Pruitt
Reginald Hudlin has been a player in the entertainment world for over 20 years, but on Feb. 24 Hudlin will have his first shot at winning an Oscar as one of the producers for “Django Unchained.” The Quentin Tarantino-directed film starring Jamie Foxx as a renegade slave turned bounty hunter is nominated for Best Picture, making Hudlin just the fourth African- American producer to receive such a nod.
Hudlin, former president of entertainment for Black Entertainment Television, is a prolific writer, director and producer for TV and film with much of his creative work touching on African-American-themed projects. He is best known for his debut film “House Party” that starred hip-hop duo Kid ‘n Play and directing such hits as “Boomerang” with Eddie Murphy and Halle Berry.
So, it was little surprise that Tarantino picked Hudlin’s brain more than a decade ago about how to make a movie about American slavery. “We were having a long conversation about slave movies and I stated my opinion that most of them don’t work because they’re more focused on victimology,” said Hudlin in a phone interview with The Wall Street Journal. “I wanted to see people who fought back; the equivalent of Spartacus in an Antebellum context.”
Hudlin said he had forgotten about that conversation until Tarantino called him up with a script and said “look you planted the seed and this is the tree.”
Not everyone, however, appreciates what “Django” has grown into. While the film’s has had critical and commercial success, it has also sparked fierce criticism from black intellectuals and artists including film director Spike Lee who told “Vibe” magazine he wouldn’t see the movie because “it’s disrespectful to my ancestors.” As the sole black producer on Django, Hudlin shares his views about the criticism, the state of black Hollywood and if a “Django” sequel is in the works.
How did Tarantino bring on you as a producer?
He called (me) over the house handed me the script. I told him how much I loved it and he asked me if I had any notes. I shared with him my thoughts…and then I wished him good luck. Then he said…we need to do this one together. We had never worked together before, but it was an exciting prospect. I knew this was an important movie. So, three days later we’re meeting with studios. A week after that, we’re scouting locations in Louisiana.
When you read the script did you think this was going to be a land mine for criticism particularly with the violence and the use of the “N-word”?
I thought that the movie was powerful. Of course, it was going to be controversial. There’s so few stories made about black people that each film takes on an inordinate amount of importance …particularly in this period of our history.
Black people have not come to terms with how to deal with this most painful part of our past. You look at the Jewish community….they take the Holocaust, the most painful part of their heritage [and] their attitude is: we will never forget and we will take strength from this, we would never let the world forget. The black community has not come to that same kind of consensus.
How do you think this film changes the conversation?
First of all, there is a conversation. There weren’t people sitting around talking about slavery a year ago. People were talking about “Basketball Wives.” The very fact that people are talking about slavery, depictions of our history, researching different real life characters…is for the good.
Were you surprised by the acclaim “Django” has received?
I always felt very confident [with] the material. It was a great script, Quentin is a great director. We had a dream cast. Every day on the set, magic happened.
The phrase blaxploitation film is an unfortunate slur that has stuck on that period of movies. I think what defines those films are strong Black people who stand up for what they believe in and fight back. The fact we’ve never had as many images of strong black men and women since that period is criminal.
Tell me about your comic book series based on the characters from “Django.”
It’s really exciting because it’s based on the original script. We’re not just drawing the movie, we’re including all these scenes which may have been shot, but cut or maybe never shot at all. And the artist who’s drawing the books hasn’t seen the film yet. He’s doing his own version of the characters which sometimes look very different from the actors we cast.
Do you foresee a “Django” sequel?
I promised Quentin I would not harass him about a sequel for another six months. I know that Quentin has never done a sequel and it’s sort of torturous because he has fantastic ideas for sequels for almost all of his films. I have to presume there will not be a sequel, but I don’t have to accept it.
What do you think about the state of black Hollywood now?
The fact is things are much better. There are black actors in many more TV shows and movies than ever before. You can’t say there isn’t improvement in terms of more opportunity. I think what people continue to be frustrated about is the range of representation.
What do you think “Django’s” legacy will be?
Not only is “Django” Quentin’s biggest hit, it’s on its way to being the biggest western of all time. To say the biggest western of all time stars Jamie Foxx is an amazing statement.
Reginald at the Golden Globe Awards
Kamala Harris On The Power Of Women Leadership
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