All Articles Tagged "malcolm lee"
In a cover story for Variety Magazine, comedian and Oscar-winning actress Mo’Nique raised an important point about the #OscarsSoWhite campaign:
Basically, why are we talking about trophies when Black actresses are being paid almost peanuts for virtually the same work as their White counterparts?
As Mo’Nique tells Variety’s Ramin Setoodeh, she only received $50,000 as well as “an insignificant back-end” for her Academy Award-winning role in Lee Daniels’ Precious. This is in spite of of the film going on to gross $47.5 million at the domestic box office. She also states that since then, she has turned down parts “because the salaries attached to the offers were less than what she was earning a decade ago, well before she was an Academy Award-winning actress.”
Of course Mo’Nique has been very vocal about this before. And before, many of us took this as her acting uppity or worse, being entitled. However in the next part of the interview, Mo’Nique gives us more insight into her motives.
And as she tells Setodeh:
“Did you watch the Oscars growing up?
Rarely. That wasn’t a program that we watched in our household. There was no representation. When you do see people of color get nominated, you’re like, “They really put the work in.” You’re excited for them and happy for them. We put so much on the Oscars, at this point we’re being misdirected. The focus should not be on the trophy. The focus should be on the paychecks and the unequal wages. Anytime you hear Patricia Arquette and Gwyneth Paltrow, when you hear those white women say, “We’re not getting equal wages.” Well if they are saying it, what do you think we’re getting?
Is it harder for women of color?
To focus on a trophy, we totally miss the point. Let’s have a real and open conversation. That’s when change will happen in Hollywood. To ask me about a trophy is really irrelevant. It’s just a trophy. But why is there such a pay gap? If there’s a black film coming out and it’s an all-black cast, why is it that it’s a low-budget film? The offers I oftentimes receive are less than I got 11 years ago, and that’s before I won the Oscar.
Was there a time you were ever paid as much as male co-stars?
No. There’s never been a time that I’m aware of, that my paycheck was equal in the entertainment industry, in Hollywood. When you get a telephone call from directors like Malcolm Lee and he makes me an offer to do a movie that’s far less than I made a decade ago when I worked with him on “Welcome Home, Roscoe Jenkins,” and my husband says, “How do you make that type of offer when she made more money then?” His reply was: “I know it’s not right. I just want to work.”
Mo’Nique then goes to explain that how she never really wanted to be an actress and that her real ambition had always centered around being a talk-show host. If we recall, at the time of her Oscar nom, Mo’Nique was also working her real dream as talk show host at BET.
During the interview, she also admits to turning down roles because the films weren’t offering her much money in the front end. More specifically she said: “What we have always had to tell people, I’m not in the business of script reading. When you call up the offer, we don’t get that far. We want to know, “What are you offering?”
It all sounds pretty callous and disrespectful of the field of acting in general. But as Mo’Nique reminds us, most of Hollywood is business first. More specifically she said:
“You were only paid $50,000 for “Precious.” Did you get a back end?
There was a back end, in all fairness. But the end it was behind, it was the double triple quadruple back end. Because Lee Daniels was my friend, he said, “This is what it is.” And we said, “Okay.” That movie made a lot of money all over the world. And again you have to ask yourself, “Why is it that we don’t take part in it?” Myself and Gabourey Sidibe, we should have become multi-millionaires off that movie, had we been given the right information. We weren’t given the right information. If you’re not given the right information, it doesn’t allow you to negotiate fairly.
What’s the right information?
By them saying, “Let me lay everything out on the table. This is what this means, this is what this back end means.” I don’t think my friend will tell me anything that’s not right. But then you understand it’s business. It’s a lesson well learned, a costly one. You have to ask yourself if “Precious” is so successful, why is that I’m not getting offers that make sense because you see what happens at the box office? I don’t say it’s just because of me. It was a collective group. Everyone that took part was a big part of the success.
The budget of the movie was $10 million and it grossed $47.5 million domestically. Who made that money?
Someone did, my love. Can you please call them and ask them where it is?”
Honestly, it all really does make sense. Precious grossed four-times as much as what it cost to be made. It also won awards. She should have been getting better financial offers that reflected her success. However that’s business. And what many of us, particularly creative folks, know through trial and error is that folks will take advantage of you. They will use you and your time and energy, make a bunch of money and leave you penniless. And very few will feel sorry for you. In fact, most will blame the person for not seeing it coming.
Yet, when a woman is smart enough to take charge of her time and her finance, for some reason we also see her as being ungrateful or entitled. But as Mo’Nique notes later on in the piece:
“When you know the history of Hattie [McDaniel, the first African American to win an Oscar for “Gone With the Wind” in 1940], she said she felt like she had been cursed. They already didn’t want to pay her fairly. Now that she had own the highest award in the acting business of Hollywood, now you think we’re going to treat you fairly? Unfortunately, that sweet woman died penniless. She didn’t get the money she was supposed to get. So did it hurt my career? I have to say no, it didn’t. What I did always have was the option to say yes or no. I think, unfortunately, there are times where we don’t have the option. I’m a stand-up comedian. I go on the road. I tour. So I always have the option to say, “No, thank you.” But what about the ones who don’t have the option? I don’t know how much has changed from Hattie to right now.”
Who cares about accolades and validation from the academies when so many of our favorites end up meeting the same fate as McDaniel?
Just this weekend, Will Smith sat atop the box office once again with his latest film Focus. For audiences, seeing a Will Smith film struggle is stranger than seeing it succeed. But he’s an anomaly among Blacks in Hollywood. More often, it takes a lot of toil and sweat for Black filmmakers to get their work made and in front of audiences.
“I remember last year feeling hopeful that we had seen so many filmmakers and diversity of product,” Malcolm Lee, director of the popular Best Man films told MadameNoire in a phone interview. A third Best Man film is in the works. “There’s progress there, but I’m kind of in a holding pattern.”
We spoke with Lee before the Oscars. Since then, many people both in the film industry and outside of it have expressed their shock and dismay about the notable lack of diversity among this year’s nominees. Most, including Lee, had hoped that after Fruitvale Station, 12 Years a Slave, The Best Man Holiday and other films had gained widespread acclaim and raked in lots of money, we would be seeing more diverse faces on red carpets for awards ceremonies and premieres. But in a lot of ways, the struggle continues.
Across the board among the filmmakers we spoke with for this story, there was one word that kept coming up: “perseverance.” To get their work made, funded and in front of audiences requires a passion for film and the will to tell their stories.
“I had a desire to see people who were a reflection of me, my friends, people I went to school with reflected on screen,” Lee told us. The industry, he says, still sees Black films as a “niche market” that will only appeal to a domestic audience. News today is that, for the first time in February, the box office receipts in China exceeded the US with $650 million. If movies with Black casts and Black filmmakers don’t make big bucks with these overseas audiences, this belief in “niche markets” will no doubt be bolstered. Of course, you have to get your movie made and in front of audiences before you can determine whether it’s going to go over well.
“Will Smith worked diligently to make himself a star,” Lee continued, noting that the Fresh Prince traveled around the world to become a global name. The only other names that might be recognized in that way are Denzel Washington (despite what the folks at Sony said in their emails) and Kevin Hart. But many filmmakers want to create the movies they have in mind, and that might not be an action film or a comedy or something of similar mass appeal with an actor that has a huge name. Not that there’s anything at all wrong with that. But there should be room for a variety of voices.
“Quality has to be more important than quantity,” Lee said. “It’s all about the story you want to tell. It can’t be about making money or getting famous.”
Datari Turner is an independent filmmaker known for microbudget films, movies that cost less than $1 million to make. By Hollywood standards, this is pocket change. Back in September 2014, Turner signed a deal with Codeblack Films to distribute his films across the US and Canada. He’s worked with talent from across the spectrum, from James Franco to Common to Demi Moore to Megan Goode. He’s also created work for television networks including BET, TV One, WE and Oxygen.
— WE tv (@WEtv) February 12, 2015
“The thing that’s changed in the last six or seven years is the international market accounts for 80 percent of Hollywood profits,” he told us in a phone conversation. However, there aren’t people on the ground overseas to push Black movies. And when it takes millions of dollars to get a movie into theaters, there needs to be a large return in order to justify the investment.
Still, Turner says this is a great time to be a filmmaker because even the big names are willing to take less money in order to work on projects they have a penchant for. Add to that the access to audiences and Hollywood big wigs that’s afforded by the robust festival landscape. Toronto, Cannes, Sundance, Palm Springs, Berlin. These are just some of the hundreds of film festivals that are frequented by fans and production companies.
And then you have new technology, like Netflix streaming and on-demand services that bring movies big and small to moviegoers who don’t even have to leave the house.
So making an independent movie is an option. But a tight budget is a hindrance.
“The hardest thing to do is produce a microbudget film. There’s no room for error,” Turner continues. “You can’t just throw money at it to fix a problem.”
With microbudget success under his belt, Turner says he would love to work with a big budget and big names. Erica Watson, who’s now making the rounds with her short film “Roubado” used Kickstarter to fund her film. Her $500,000 camera was donated. What she’s got plenty of is faith.
“My dad says, ‘When you have to start a race in second place, you have to run twice as fast,’” she told us. “If you’re excellent, I believe no one can deny you.” Though she’s starting to make the rounds at film festivals now, she’s adamant that she doesn’t need them “to be validated.” Rather, she’s more concerned with getting her vision out there.
“The issue is being able to tell diverse stories without having characters that need to fit into a certain mold,” Watson continued. Her movie is about a teenage Afro-Portuguese boy living in the south of France who sees the world through the lens of his camera.
But not every film has to go abroad to find its compelling protagonist. Gina Prince-Bythewood, the filmmaker and screenwriter behind Love and Basketball, received heaps of praise for last year’s Beyond the Lights (now available on DVD). Despite the positive reception, the film didn’t bring in the box office numbers.
“I think it was perception. We’re still fighting the perception that our films are less than,” she told MadameNoire in a phone interview. But aside from that perception, Prince-Bythewood also says she thinks her film fell victim to marketing deficiencies.
“It’s going to take us filmmakers being more involved in the marketing and publicity,” she continued. “Who knows your film better than you?”
Prince-Bythewood herself wrote an open letter advocating for her film, saying:
I feel what’s discriminated against are my choices, which is to focus on people of color as real people. Those are the films that rarely get made and those are the films that take a lot more fight. But I’m up for the fight, because if we don’t fight for this we stay invisible.
By the time word began to spread that this was a film that everyone should be interested in, Prince-Bythewood says it was too late.
Which brings us back to the Oscars. Beyond the Lights was nominated for the song “Grateful” in the Best Original Song category alongside the winner, “Glory” by Common and John Legend for Selma.
“Early on, there are these films that are considered Oscar worthy and those films persist to the end of the game,” Prince-Bythewood said.
Indeed the buzz around movies like Birdman and Boyhood had been there for a long time. But just like a great movie that has intricate twists and turns, the Oscars needs to be more flexible and, ultimately, more open-minded to what resonates with audiences. Moreover, the Academy must better acknowledge the different points of view putting out work in the world of film.
“The African-American consumer wields tremendous cultural influence,” wrote Cheryl Pearson-McNeil, the Senior Vice President of U.S. Strategic Community Alliances and Consumer Engagement for Nielsen. “African-Americans watch 40 percent more television than any other group, have a $1.1 trillion buying power, and 73 percent of Whites and 67 percent of Hispanics believe Blacks influence mainstream culture.”
The beauty of filmmaking, at its core, is the ability to tell a story visually. There are as many stories in the world as there are people. Black filmmakers have made it clear that they won’t be silenced.
And for more on Black filmmakers in Hollywood, be sure to tune in to Cafe Mocha Radio this weekend when guest Cocoa Brown of “For Better or Worse” will talk about being a plus-sized girl in Hollywood. And right now, there’s more from Mo’Nique and her husband on the Cafe Mocha website.
With the success of The Best Man sequel The Best Man Holiday, it’s no surprise that the studios would want to go to the well one more time. And Malcolm Lee was ready for them. It would seem that he started writing the third installment of The Best Man franchise before the second one was even in theaters. Fans of the films (read the MadameNoire staff) are anxious to know what’s in store for round three. Luckily, director Malcolm Lee and Morris Chestnut spoke with Vibe at the American Black Film Festival to spill some tea. See what they had to say.
**Note** For those of you who have yet to see the second movie, do better. But also click away. There will be spoiler alerts about the second film in the quotes below.
Morris Chestnut: It will be…it will probably be the funniest of them all. It’s going to have a lot of twists and turns, I just can’t tell you the storyline.
Malcolm Lee: It’s going to be some romance. There’ll be some sex, there’s going to be a wedding and it’s going to be a distant location.
Morris thought that the studio had a script but Lee confirmed that the script is not quite ready for the studios yet.
MC: I’m excited because the last movie I was kind of upset throughout the whole movie and very emotional, so Malcolm promised me that this movie is going to be completely different for me. So I’m looking forward to that.
ML: You don’t just get over the death of your life mate, your soul partner. So he is going to be sad. We’ll feel sad for him but in a very different way, a very different way this time around. This is going to be one of Morris Chestnut’s funniest roles.
Yaasss! I’m here for this. Though the “distant location” part made me a little skeptical at first, the fact that we’ll be “sad for him” in a different way” makes it sound like the story is going to be complex and not easily predictable. Here.For.It.
I hope the studios aren’t on that bo-yang and they don’t hesitate in getting this made. I’ve essentially already bought my ticket.
Are you as excited as I am?
Take a look at the two men talking about the upcoming movie in the video below.
From The Grio
Director Malcolm D. Lee isn’t surprised that The Best Man Holiday had a huge debut the weekend at the box office.
The film which held down the No. 1 spot at the box office Friday, brought in an estimated $30.6 million, only about $8 million behind the chart-topper Thor: The Dark World.
During an interview with theGrio’s Chris Witherspoon, Lee talked about The Best Man Holiday smashing box office expectations, and weighed on USA Today calling the sequel to The Best Man a “race-themed” film.
“I thought the expectations for The Best Man Holiday were low,” Lee says. “I was not surprised that we did better than they thought. I had a number in my head north of $22 million or north of $25 million. I felt if we did that we would be in really great shape. To be north of $30 million is fantastic. I resent the notion that we over-performed I felt like we were underestimated.”
“I think they had no idea what this movie meant to the fans of the first Best Man,” Lee explained. “They completely underestimated that fans would come out in droves. I completely underestimated that people would call out of work and come to Friday matinees. However I definitely expected people to come out.”
USA Today set of a social media frenzy Sunday when they tweeted and published a headline that read“‘Holiday’ Nearly Beat ‘Thor’ as Race-Themed Films Soar.” Twitter erupted with many finding the headline to be racially insensitive.
Read more at TheGrio.com
From Black Voices
Since the premiere of his debut feature film “The Best Man” in 1999, Malcolm Lee has become one of the most prominent directors in Hollywood. Lee discussed his career journey and the inspiration for his sequel to black cinema classic, “The Best Man Holiday,” starring Taye Diggs, Nia Long, Morris Chestnut, Terrence Howard, Sanaa Lathan and Regina Hall exclusively on The Craft.
Watch Malcolm Lee’s interview at BlackVoices.com
It’s not often that you get a good romantic comedy, featuring an all black cast. But just because it doesn’t happen that often, doesn’t mean fans aren’t thirsty for it. That’s exactly why The Best Man went on to become the highest grossing movie the weekend it came out. Almost quadrupling the $9 million dollars it cost to make it. You know the shady story, the lines, and the music; but we bet you don’t know these behind the scenes secrets. Check it out.
Our Kela Walker hit the Black Girls Rock! red carpet to ask celebs: Who are your favorite Black GUYS that rock? and If a BGR was a super hero, what would her superpowers be? Check out what everyone had to say!
Check Out More Video from Black Girls Rock! Red Carpet:
Malcolm Lee, director of The Best Man, Undercover Brother, and Roll Bounce sat down with actors, writers, producers and fellow directors at the National Comedy Theater to impart words of wisdom, give advice and share his opinions on the ever-popular Tyler Perry.