BLACK ENTERPRISE
December 2006
By Nicole Marie Richardson

REEL PROPHETS

These industry mavericks are finding creative ways to parlay their diverse talents into Tinseltown success.

IN HOLLYWOOD, SO MANY DREAM OF red carpets, camera flashes, and hobnobbing with movie stars. But a slew of talented African Americans are turning the once-elusive reverie into attainable and lucrative careers.

Although the powerful gatekeepers of Tinseltown have only cracked open the doors at major Hollywood studios by cherry-picking a few "black" projects, these creators are ushering in a modern-day renaissance through other outlest - ranging from music videos and Broadway to DVDs and digital media.

The direct-to-DVD market is doing for black films what urban radio did for hip-hop. Cell phones, podcasts, and other digital media outlets are becoming an increasingly attractive means for distribution. The recent purchase of YouTube by Google for $1.65 billion indicates that this trend will continue. Independent films have entered exciting times, offering a break to those with a fistful of dollars and a dream. LeVar Burton, co-chair of the African American Steering Committee, Directors Guild of America, exclaims, "Independent films are what started the movie industry, and now they are saving the film industry. It was really big news when at last year's Academy Awards all the nominees for Best Picture were independent films. Big studios aren't making films of great substance. Independent films have a more independent vision."

Yet many African Americans continue to face roadblocks and collisions on the road to Hollywood. Lack of financing, lack of distribution outlets for content, and Hollywood heavyweights who don't see the value of diversity stop projects in their tracks. Furthermore, the industry's accounting practices can stop money from reaching pockets of creative forces. Crystal McCrary Anthony, a former entertainment lawyer for Weiss, Rifkand, Wharton and Garrison L.L.P., who is now an author and movie producer, advises Hollywood hopefuls to become well-versed in legalese. "It's smart to put everything you expect in writing, always put a cap in the [print and advertising] budget, and ask for gross profits - never net - because net could mean nothing in Hollywood.

Jeff Clanagan, CEO of Code Black Entertainment, see another major problem of Hollywood. "Where are the black distribution companies?" he asks. "[African Americans] do not control any type of distribution. This is really the key to getting a movie greenlit; you have to be on the distribution side."

Clanagan further states that there exists a dual culture in Hollywood: African Americans tend to come in on the creative sides, and from that position, it is difficult, if not nearly impossible, to make the leap to the executive side. "[But] we have to start pushing and using our clout to make headway into the business side of the industry."

Answering the call in July was BET founder Robert L. Johnson, owner of RLJ Cos., and veteran filmmakers Boband Harvey Weinstein, with the creation of Our Stories Films, which will make family-friendly, African American comedies. Tracey Edmonds, whose credits include producing films such as Soul Food and the first Africa American reality series, "BET's College Hill, was named president and shief operating officer, marking the first tme that an African American has headed a major film studio. But there's still no home for black dramas, points out McCrary Anthony. Two recent developments may change that: Code Black signed a deal with 20th Century Fo'x FoxFaith to release up to a dozen faith-based films with theatrical distribution for at least six films a year; hile Warner Home Video and Film Life, the organizers of the American Black Film Festival, signed a deal in July to release festival entries and other "urban" titles in DVD format, under a special ABFF label.

Black Enterprise set out to identify several Hollywood pioneers, and there's definitely no lack of talent or business savvy among this group of pacesetters - many of whom learned the ropes in the school of hard knocks. They have found a way not only to make money in the craft that they love but to get their projects in front of audiences all over the world.

Crystal McCrary Anthony financed her new film, the highly anticipated Dirty Laundry, due in theaters March 2007, by any means necessary. "As executive producer of the film - with a budget "south of $1 million - it was her job to get the money - even if that meant shelling it out from her own pocket.

"When this project first came to me in September 2005, [it was] a real independent film. There was a script but virtually no money, no studio, and nothing had been shot," recalls McCrary Anthony. The film, written and directed by Maurice Jamal, stars Loretta Devine, Rockmond Dunbar, Jenifer Lewis, and Veronica Webb, and went on to win Best Feature Film at the American Black Film Festival. It tackles issues of homosexuality in African American families and churches. "I gave script notes, helped cast, raised money, and, essentially said I believe in this story."

McCrary Anthony was intrigued not only by the message about homosexuality but also by the story's focus on strong, beautiful, well-rounded black women - characteristics she admits inspire passion and creativity in her and were evident in her two New York Times best-selling novels, Homecourt Advantage (Avon Trade; $13.95) and Gotham Diaries (Hyperion; $21.95). But she learned the hard way that mainstream media was not eager to represent diverse, well-rounded images of African American men and women when Lifetime Movie Network suddenly changed directions and halted production of a movie adaptation of Gotham Diaries.

"It was my first bout with frustration in the entertainment industry and trying to get black images on film, on television, and particularly black images of strong women," recalls McCrary Anthony. "If we want our stories told, then it is ultimately something we are going to have to do ourseelves."

McCrary Anthony provided a bridge loan from her own pocket that covered a significant amount of the film's budget (the rest came from private investors), and shooting began in March. "If we had waited for some big studio to throw some pennies at us, we'd still be waiting," she says. "This way we maintain our autonomy."

Dirty Laundry was recently purchased by Code Black, a black-owned and -operated company involved in a joint venture with Univeral Studios. Anthony says the advance will cover the cost of the film, which will have an initial release in about 100 theaters in roughly 20 cities, and that Code Black has agreed to put significant marketing dollars behind it.