Made 40 million on a 65 million dollar budget. Bomb. There's a reason why MGM sat on it for three years and it wasn't because they were going bankrupt.
Why Black People Need To Create Their Own Film/Media Infrastructure
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Made 40 million on a 65 million dollar budget. Bomb. There's a reason why MGM sat on it for three years and it wasn't because they were going bankrupt.
Sure he did
Moves to non existent is right. That article is dated 2010.
50 is Hans Solo Empire Strikes back cold.
thought all were good
Why couldn't a black owned or financed company make a movie like this
looks good and like was said earlier, just because its "black owned" doesn't mean it makes only black movies. It makes movies w/ a message like Participant that will make money thereby ensuring when they do make a "black" movie, there name on it MAY make others more likely to see it. The point of all companies is to make money and if you have a big enough name and streamlined production costs you can make quality movies on a Perry budget that could make more than perry $$ and may get to the international market (greater Europe and Africa primarily. . . it would take one hell of a black movie to make an impact in an asian/indian/russian market)
looks good and like was said earlier, just because its "black owned" doesn't mean it makes only black movies. It makes movies w/ a message like Participant that will make money thereby ensuring when they do make a "black" movie, there name on it MAY make others more likely to see it. The point of all companies is to make money and if you have a big enough name and streamlined production costs you can make quality movies on a Perry budget that could make more than perry $$ and may get to the international market (greater Europe and Africa primarily. . . it would take one hell of a black movie to make an impact in an asian/indian/russian market)
Then why is Nollywood the 2nd largest film industry in the world?
Hollywood is 3rd
black meaning african american.
Lincoln will make good return for participant media
Participant Media's Lincoln received 12 Academy Award nominations. These included Best Picture, Best Director (Steven Spielberg), Best Actor (Daniel Day-Lewis), Best Supporting Actress (Sally Field), and Best Adapted Screenplay (Tony Kushner).[8]
http://en.wikipedia.org/wiki/Participant_Media#2012
http://en.wikipedia.org/wiki/Participant_Media#2012
Tyler is already making the type of moving he wants to make and so are the others. Doesn't Spike already do this as well? Furthermore, they don't executive produce most of the their own movies. They user other people's money. I think you have a great idea but the plan to execute it is nonsense.
what's your alternative plan?
Limiting your audience limits your revenue. Why can't a black film company produce the next Hangover? Let's get out of the "black movie" category and get into the "movie" category.
As far as securing good actors on the cheap, as you said, it has to be something they believe in. Don Cheadle is an amazing actor, and he's playing a crazy Captain Planet for free on Funnyordie.com just because it is fun.
Good point....
I'm more interested in the financing part of the game
All I know even the film production companies in South Africa are owned by whites...
You guys act as if it is that simple. Movie making is your highest risk for reward investment on the planet. Higher than drug dealing and stocks. You know how many movies fail a year? Most of you asking for others to do something you won't do.
You guys act as if it is that simple. Movie making is your highest risk for reward investment on the planet. Higher than drug dealing and stocks. You know how many movies fail a year? Most of you asking for others to do something you won't do.
tyler might pull this off
Then why is Nollywood the 2nd largest film industry in the world?
Hollywood is 3rd
Well, Nigerians like watching themselves on the big screen like most cultures.
However when it comes to blk ppl in America, we support movies that don't even come close to representing us. We are content with white stories by white writers using white actors. Its as simple as that.
Until those dollars support blk films, expect more of the same.
Man Eddie Murphy hasn't been in a successful movie in since the Nutty Professor flicks, yet he was still being hired for films. It is up to hollywood to decide if you are still to be famous.
lol i was WITH you until you said this stuff here. lol Put in 300 MIL? Are you serious!? No. You can't just PUT IN 300 million dollars man. That's their cash. It's easy to decide what to do with other peoples money. We don't live their lives. We are not responsible for their well being. lol "easily put in 300 mil"
I think they could all get together and COLLAB. A small percentage from a lot of people.
Spike is on KICKSTARTER asking for 1.5 mill
I must have over estimated these people.
I must have over estimated these people.
.........
good post
Spike Lee's Advice To 'Selma' Director Ava DuVernay On Oscar Nod Omission: 'F**k 'em'
The Academy Awards announced this year's class of nominees on Thursday -- and promptly drew heavy criticism for failing to recognize people of color from the list.
Many were particularly up in arms about the exclusion of “Selma” director Ava DuVernay and the film's lead actor David Oyelowo from the roundup of nominees while critics slammed their omission as a “snub." Now, director Spike Lee has weighed in on the issue during a recent interview with The Daily Beast and invited the duo to “join the club."
“That doesn’t diminish the film,” Lee said in response to the absence of the film’s cast, before explaining the relevance of the 1990 Oscar Award-winning film, “Driving Miss Daisy” and his 1990 Oscar-nominated motion picture, “Do The Right Thing.”
“Nobody’s talking about motherfuckin’ 'Driving Miss Daisy.' That film is not being taught in film schools all across the world like 'Do the Right Thing' is. Nobody’s discussing Driving Miss Motherfuckin’ Daisy. So if I saw Ava today I’d say, ‘You know what? F*ck ’em. You made a very good film, so feel good about that and start working on the next one.”
Despite the 57-year-old director being at the helm of a long list of critically acclaimed projects, including Malcolm X’s autobiographical film, he has yet to receive an Academy Award. In fact, Lee’s unfavorable experience with the organization’s voting body has caused the filmmaker to have an averse opinion as it pertains to black films and their cast.
“Anyone who thinks this year was gonna be like last year is retarded,” he said. “There were a lot of black folks up there with 12 Years a Slave, Steve [McQueen], Lupita [Nyong’o], Pharrell. It’s in cycles of every 10 years. Once every 10 years or so I get calls from journalists about how people are finally accepting black films.”
Lee is no stranger to speaking his mind. He's also spoken out about the industry's treatment of actors and actresses in 2011 during an interview with The Hollywood Reporter.
“You’re out there buck-naked and that is hard," he said during the interview. "The reason why actors are f---ed up; can you imagine having a job where someone is, ‘No, no, no. Your butt’s too big. Your heads to big. You’re too skinny. Your nose is too big?'”
http://www.huffingtonpost.com/2015/...-em_n_6487786.html?ncid=fcbklnkushpmg00000047
The Academy Awards announced this year's class of nominees on Thursday -- and promptly drew heavy criticism for failing to recognize people of color from the list.
Many were particularly up in arms about the exclusion of “Selma” director Ava DuVernay and the film's lead actor David Oyelowo from the roundup of nominees while critics slammed their omission as a “snub." Now, director Spike Lee has weighed in on the issue during a recent interview with The Daily Beast and invited the duo to “join the club."
“That doesn’t diminish the film,” Lee said in response to the absence of the film’s cast, before explaining the relevance of the 1990 Oscar Award-winning film, “Driving Miss Daisy” and his 1990 Oscar-nominated motion picture, “Do The Right Thing.”
“Nobody’s talking about motherfuckin’ 'Driving Miss Daisy.' That film is not being taught in film schools all across the world like 'Do the Right Thing' is. Nobody’s discussing Driving Miss Motherfuckin’ Daisy. So if I saw Ava today I’d say, ‘You know what? F*ck ’em. You made a very good film, so feel good about that and start working on the next one.”
Despite the 57-year-old director being at the helm of a long list of critically acclaimed projects, including Malcolm X’s autobiographical film, he has yet to receive an Academy Award. In fact, Lee’s unfavorable experience with the organization’s voting body has caused the filmmaker to have an averse opinion as it pertains to black films and their cast.
“Anyone who thinks this year was gonna be like last year is retarded,” he said. “There were a lot of black folks up there with 12 Years a Slave, Steve [McQueen], Lupita [Nyong’o], Pharrell. It’s in cycles of every 10 years. Once every 10 years or so I get calls from journalists about how people are finally accepting black films.”
Lee is no stranger to speaking his mind. He's also spoken out about the industry's treatment of actors and actresses in 2011 during an interview with The Hollywood Reporter.
“You’re out there buck-naked and that is hard," he said during the interview. "The reason why actors are f---ed up; can you imagine having a job where someone is, ‘No, no, no. Your butt’s too big. Your heads to big. You’re too skinny. Your nose is too big?'”
http://www.huffingtonpost.com/2015/...-em_n_6487786.html?ncid=fcbklnkushpmg00000047
Spike Lee says its easier for a black person to become President than head of a movie studio
Director Spike Lee told an audience of entertainment luminaries that it's easier for a black person to become President of the United States than head of a Hollywood studio or network.
Lee made the remarks on Saturday as he accepted an honorary Oscar statuette at the film academy's seventh annual Governors Awards dinner in Hollywood, where Gena Rowlands and Debbie Reynolds were also honorees.
'We need to have some serious discussions about diversity and get some flavor up in this,' Lee said. 'This industry is so behind sports it's ridiculous.'
The filmmaker praised Academy of Motion Picture Arts and Sciences president Cheryl Boone Isaacs for 'trying to do something that needs to be done'.
Earlier in the evening, Isaacs called on the industry powers in attendance to take action toward 'recognizing and embracing a broad cross-section of talent'.
She also announced the academy's new five-year plan to improve diversity in its staff and governance.
Isaacs opened the Governors Awards ceremony with condolences for France in the wake of the terrorist attacks.
'All of us here stand in solidarity and support of France and the French people,' she said. 'Our connection with the film-loving French is especially deep.'
Lee offered 'peace and love to people in France' as he received his award. Denzel Washington, Wesley Snipes and Samuel L Jackson brought the filmmaker onstage for his Oscar.
'Spike Lee has put more African-Americans to work in this business than anyone else in this business,' Washington said in his introduction.
Cate Blanchett and Laura Linney each paid tribute to Rowlands, calling her a trailblazer and inspiration.
The 85-year-old actress, whose career spans six decades, received her Oscar from her son, Nick Cassavettes, who directed his mother in 2004's 'The Notebook.' He noted that the award was 'the first Oscar in the family'.
Looking lovingly at the golden trophy, Rowlands thanked the academy governors for 'introducing me to this fine fellow'.
'He's very handsome,' she said. 'You know, he's just so elegant... I think I'll take him home.'
Reynolds received the Jean Hersholt Humanitarian Award. Jane Fonda and Meryl Streep introduced the 83-year-old entertainer, who announced Friday that she would be unable to attend the ceremony.
Reynolds was recognized for her decades-long commitment to various charities, including the mental health organization she founded, the Thalians. Her granddaughter accepted Reynolds' statuette.
A live band played throughout the evening, and there were two musical interludes: Zooey Deschanel performed the Oscar-nominated song Reynolds sang in 1958's 'Tammy and the Bachelor.' Aloe Blacc sang 'A Change is Gonna Come' as part of Lee's introduction.
Other famous faces at the starry dinner included Johnny Depp and wife Amber Heard, Daniel Craig and wife Rachel Weisz, Will Smith, Ice Cube, Mark Ruffalo, Quentin Tarantino, Saoirse Ronan and Michael Caine.
Portions of the untelevised ceremony may be included in the 2016 Academy Awards telecast.
Director Spike Lee told an audience of entertainment luminaries that it's easier for a black person to become President of the United States than head of a Hollywood studio or network.
Lee made the remarks on Saturday as he accepted an honorary Oscar statuette at the film academy's seventh annual Governors Awards dinner in Hollywood, where Gena Rowlands and Debbie Reynolds were also honorees.
'We need to have some serious discussions about diversity and get some flavor up in this,' Lee said. 'This industry is so behind sports it's ridiculous.'
The filmmaker praised Academy of Motion Picture Arts and Sciences president Cheryl Boone Isaacs for 'trying to do something that needs to be done'.
Earlier in the evening, Isaacs called on the industry powers in attendance to take action toward 'recognizing and embracing a broad cross-section of talent'.
She also announced the academy's new five-year plan to improve diversity in its staff and governance.
Isaacs opened the Governors Awards ceremony with condolences for France in the wake of the terrorist attacks.
'All of us here stand in solidarity and support of France and the French people,' she said. 'Our connection with the film-loving French is especially deep.'
Lee offered 'peace and love to people in France' as he received his award. Denzel Washington, Wesley Snipes and Samuel L Jackson brought the filmmaker onstage for his Oscar.
'Spike Lee has put more African-Americans to work in this business than anyone else in this business,' Washington said in his introduction.
Cate Blanchett and Laura Linney each paid tribute to Rowlands, calling her a trailblazer and inspiration.
The 85-year-old actress, whose career spans six decades, received her Oscar from her son, Nick Cassavettes, who directed his mother in 2004's 'The Notebook.' He noted that the award was 'the first Oscar in the family'.
Looking lovingly at the golden trophy, Rowlands thanked the academy governors for 'introducing me to this fine fellow'.
'He's very handsome,' she said. 'You know, he's just so elegant... I think I'll take him home.'
Reynolds received the Jean Hersholt Humanitarian Award. Jane Fonda and Meryl Streep introduced the 83-year-old entertainer, who announced Friday that she would be unable to attend the ceremony.
Reynolds was recognized for her decades-long commitment to various charities, including the mental health organization she founded, the Thalians. Her granddaughter accepted Reynolds' statuette.
A live band played throughout the evening, and there were two musical interludes: Zooey Deschanel performed the Oscar-nominated song Reynolds sang in 1958's 'Tammy and the Bachelor.' Aloe Blacc sang 'A Change is Gonna Come' as part of Lee's introduction.
Other famous faces at the starry dinner included Johnny Depp and wife Amber Heard, Daniel Craig and wife Rachel Weisz, Will Smith, Ice Cube, Mark Ruffalo, Quentin Tarantino, Saoirse Ronan and Michael Caine.
Portions of the untelevised ceremony may be included in the 2016 Academy Awards telecast.
Spike is washed. I do think Jay and Will Smith who have funded about 5-6 projects together are eventually gonna announce some ground breaking shit where they fund hottest up and coming cats.
Wesley auditioning like shit...
Gotta get the tax man that $.
"IRS, when they on you, they swarm you"
Gotta get the tax man that $.
"IRS, when they on you, they swarm you"
https://thsppl.com/how-the-media-se...r-of-their-generation-fc1484070d7f#.aoapel4np
Exerpts
Spike Lee used to be the media’s darling.
Everyone wanted to be in business with him. Consider the fact that Spike was barely into his career when Jim Riswold begged Wieden Kennedy execs to give Lee the Michael Jordan commercial franchise. Consider the fact that Spike was once followed around and quoted on all things New York and all things Black. Consider the fact that while Spike made movies for and about Black people, critics celebrated his efforts.
Lee has had one of the most prolific careers of any filmmaker, having directed over thirty films, yet when his name is mentioned now, the discourse immediately gravitates to his personality or his love of the Knicks or his battles with other filmmakers — anything but his films. What that noise has done is drown out Lee’s voice from being heard by his core audience — Black people. How did that happen?
The End of An Era (1992 Esquire Article right before MAlcolm X Launched really hurt Spike) He protested it with Esquire but they still ran it how they wanted to. It damaged him
If one had to locate a turning point, this October 1992 Barbara Grizzuti Harrison written Esquire piece would be a good start.
The title alone, meant to stir up emotion, is — surprise — racist. The tone of the article is confrontational and has more to do with Lee than the film.
When Lee phoned the editor, Terry McDonell, he told him, “You’ve damaged me.”
McDonell in a Los Angeles Times article balked, “He couldn’t believe we had done this.”
Adding that Lee failed to see the “irony” the magazine intended.
This was the beginning of the portrayal of Spike as The Angry Black Man and, boy, have they got a lot of mileage off of that one. But let’s look at it.
“I’m doing what every other person in Hollywood does: they dictate who they want to do interviews with,” he said. “Tom Cruise, Robert Redford, whoever. People throw their weight around. Well, I get many requests now for interviews, and I would like African-Americans to interview me. Spike Lee has never said he only wants Black journalists to interview him. What I’m doing is using whatever clout I have to get qualified African-Americans assignments. The real crime is White publications don’t have Black writers, that’s the crime.”
Same month as the Esquire article, four weeks before the opening of Malcolm X, Spike requested that publications send Black writers to interview him, arguing that they would be more responsive and sympathetic to the life, and therefore depiction, of Malcolm X. A request that even the author of the New York Times article, Bernard Weinraub, notes isn’t unusual, but his tone, like Harrison’s, was confrontational.
Using words like heatedly to describe how Lee explained his request, one gets the picture that Lee is neither making the request, nor responding to the interviewer, in a calm and rational way — but instead:
He’s angry.
Biopics, period pieces, large, expansive stories are usually perfect Oscar fodder. Malcolm X had all of those characteristics and then some. Yet when the nominations for the 1992 Oscars rolled around, the film only received two nominations (Best Actor in a Leading Role and Best Costume Design).
Soon, Ernest Dickerson would go on to direct his own films breaking up the two 3-peat team. Unlike the earlier films, up until 25th Hour, most of them lost money. Spike would have a harder time finding financing. Still, Lee would still be able to make fifteen plus films over the next twenty-three years. People started writing Lee off. Then came Inside Man.
Reuniting with frequent collaborator, Denzel Washington, Inside Man (06) was made for $45 million and brought in a roaring $184 million; Spike’s greatest box office haul to date. He followed that with the critically acclaimed and well-received Hurricane Katrina documentary, When The Levees Broke. One would think that Spike Lee would now be officially written up as back. But that didn’t happen.
Again, the focus was put on anything but his movies. First it was the supposed ‘08 war against Clint Eastwood where Lee addressed Eastwood’s lack of Black soldier representation in Eastwood’s double WWII films — then it was the ’12 battles with Tarantino over Django Unchained. In both cases, Lee’s points were missed. Spike merely wanted to address diversity and appropriation. Very valid issues. But the messenger had already been killed.
By this point, most Black people just wanted Spike to be quiet. Unless you have the personality of Ali, or the credibility of Minister Farrakhan, Black folk get tired of you talking. Then the media presented the veritable last straw — Tyler Perry.
The Tyler Perry debate, in all actuality, is a non-debate. Lee and Perry make totally different types of films. But because Hollywood marginalizes the Black audience and believes that we all are the same, they make it an either/or situation. When asked about Perry, it would have been in Lee’s best interest, not to address it at all. He should have smelled the stench of divisiveness. Yet, Spike took the bait and soon everyone and their grandmothers — literally — were attacking Spike.
CONCLUSION
From 1972 to roughly 1977, Stevie Wonder had what people call his Golden Era. Prince had one from 1982 to 1988. Both still have loyal fans who support their work. Surely no one is of the belief that current Scorsese films hold up next to Taxi Driver or Raging Bull. Nonetheless, people still turn up for whatever his latest release is.
But rack your brain and try to think of any Black filmmaker who has a filmography with 80% of his output focused on the Black American experience. Show me a Black filmmaker that, despite obstacle after obstacle being thrown at them, continues to find innovative ways of putting out product. Find me another Black filmmaker who has kept working for over thirty years.
Personally, I feel that Spike’s Golden Era was between 86 to 92. Some would extend it to ‘94 to include Crooklyn, yet I think he may still have some great films in him. I also believe that Spike should be wiser about the battles he picks. It’s okay to not state your opinion on each and every thing. Sometimes it harms more than it helps. And perhaps Lee thought he had more power than he actually did. These issues I attribute to him.
What I attribute to the media — Hollywood — White press — however you want to label the same machine — is the attempted castration of Spike Lee in the eyes of the public.
Even early on, Spike made note of the fact that:
“They don’t love you and the second you’re not making them money, you’re out of there. They can build you up and they can tear you down.”
We live in a world where White people behaving badly is celebrated, humanized, understood. Sean Penn’s legacy hasn’t been tarnished by his alleged brutality towards women. Nor do we discount Woody Allen’s movies for marrying his daughter. Those things are barely focused on.
I doubt that any review of An Irrational Man began with, “Woody Allen who married his daughter Soon Yi.”
If filmmaking is an art, Spike Lee is The Greatest of our era. He’s influenced many, not only Black filmmakers, but filmmakers in general to take up the camera and start documenting their life. He was once the voice of not just Black oppression — but Black art — and he continues to make Black movies for Black people.
Spike Lee pulled back the veil on Hollywood, exposed the double standards, making him a pariah in their eyes. So let’s continue to show our support for him. At least give him a chance even if we don’t understand how Nick Cannon or an older Wesley Snipes could be cast as gangsters.
Spike Lee’s Chi-Raq will be released as Amazon Studios first film on Dec 4, 2015.
Will and Spike not attending Oscars this year
Actually that is a very good idea. My thinking was to utilize the materials that already exist. I'm hoping this can now happen. The difference is out actors and actresses are now (finally) responding to what has been happening since "Roots" was first snubbed.
.........
what i think most folk like the op miss out on is these black folk
HAVE learned from the white bosses they serve
what they have learned is to:
NOT
rock the boat
NOT
bite the hand that feeds them
NOT
put anybody on
NOT
build in their communities
the list goes on but u get my point
this is Will's latest movie
looks like he learned very well
Hollywood itself was founded on self-determination and that spirit continues to this day.
Thing is, white people look out for white people — as they should. You would be hard-pressed to find a group of people who don’t…well, no you wouldn’t because all you have to do is look in the mirror Black man and woman.
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