The Token Black President

23 Feb

Hollywood’s notion of diversity in casting for film and television has become quite amusing to me.

True, we see a lot more minorities on both the big and small screen; however, they tend to be cast in supporting roles such as wacky neighbors, sage-like laborers, and, more recently, tough authorities.

In the last few years, characters such as presidents, police chiefs, and school principals are repeatedly cast with minority actors.  It’s as though Hollywood is saying, “See, we made the head honcho a minority.  We’re racially diverse!”

Unfortunately, this rarely happens when the head honcho is the main character.  Why?  Because the true head honcho is the main character, whether s/he is an army general or a lowly private.  Of course, there are exceptions to this trend; however, they are often given to a handful of A-list minorities.

Not only is this trend racist, it is also predictable and boring.  And worse, it often seems gratuitous.  Racially diverse casting of secondary authoritative roles now lacks authenticity; I often feel embarrassed when I see it on-screen.

Some argue that minority actors are, nonetheless, appreciative that they have more opportunities.  That is true and it’s great to see them embrace their demand and make the most of it.  Don’t misunderstand: I am in no way suggesting that the trend be ended.  Rather, I am suggesting that it be balanced out.  Let’s have more black presidents as the main character.  After all, isn’t that a bit more believable these days?

Here’s the solution I propose: as much as possible, ignore restrictions like race, gender, and age when casting.  Unless the project absolutely necessitates that the character be of a certain orientation, ditch it during the casting process and see who captures the personality, energy and essence of the character best.  Again, unless absolutely necessary, don’t include race, gender, age, etc. in the casting breakdown.  See who shows up!  And if it means you have to go back to the script and make some changes accordingly, then so be it.  It’ll be worth knowing you have cast the best actor for the part.

***Addition to post: please check out this short video on Indiewire.com, which perfectly captures the issue I mention in this post – the moment of silence toward the end is priceless (thank you to my friend KJ for initially sharing the video with me!)

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The Grunt Phase of Writing

21 Feb

In the last couple years, I’ve come to realize that I thrive most during the tweaking phase of the creative process.  I’m talking about the phase after the initial set-up, when there are concrete elements to play with, add upon, and tweak.  

For writers of original works, there is nothing more foreboding than a blank screen.  Like God himself, we must create something out of thin air; and speaking for myself: I ‘aint no God, so it’s tough.  In fact, I now refer to the beginning of every creative project as the grunt phase. 

What helps me most during the grunt phase is to avoid perfectionism.  The beginning stage of creativity is not the time to edit; you simply need to put your nose to the grindstone and write away.  Then, once there is something to tweak, you can dive more deeply into the creative process and make it better.

The important thing is to give yourself something to work with, just churn it out and trust that you will make it much, much better.  You will feel much better about yourself, rather than get stuck in front of a blank screen thinking of the perfect idea.

 

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Do You Want to Experience a Miracle?

9 Feb

Take a step of faith…

Still image from the film, MAN ON WIRE (2008)

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Welcome to Independent Film

7 Feb

My wife is producing my current project, a feature which we will film this August.

Last night, after a long day, I gave her a hug as she said, “There’s so much to do; sometimes I don’t know where to start.”

I replied, “Welcome to producing.”

She then added, “Yeah, but I also have a job and a child.”

So I said, “Welcome to independent producing.”

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The Twitter Party

3 Feb

Twitter is like attending a gigantic party.

After making a great first impression with a catchy username and a snazzy home page design, you’re ready to engage in conversation – well, sort of.  You approach people by “following” them and “@ mentioning” them, but they might not respond and/or not follow you back.  (I’ve found, like most parties, it’s always hardest at the beginning, when no one really knows who you are.)

However, just because someone does follow you, that does not mean they are listening.  On Twitter, you need to continually engage in conversation, develop relationships and “work the crowd” to be heard.  So if you do not responding on a daily, hourly, even instantaneously basis, you’ll be left standing alone with drink in hand, bobbing your head to the music, talking to yourself.

Some folks can get away with one way conversation, mainly celebrities.  They often follow a select few, yet have thousands, even millions of followers.  However, most of us need to continually work the crowd and stay engaged.

That’s my main dilemma with Twitter; it never stops.  It’s an infinitely ongoing party and most people never take a break.  They attend on smart phones and other portable devices, attending the party wherever they go: on the road, at the movies, the bathroom.  This creates an unspoken expectation of immediate response.  Just like an in-person gathering, a slow response is anti-social (rude?), so people will walk away.

Twitter is an incredible, open-invitation to meet and connect with others; however, I’m not sure I have what it takes.  Not only am I without portable internet devices, I simply don’t have the time nor the energy.  If I’m not working on my current film project, I’m either writing a blog entry or, more importantly, I’m with my family.  It’s nearly impossible for me to stay engaged at the Twitter party.

If I was a celebrity, it wouldn’t matter, because I could just talk and talk while ignoring everyone; but, alas, I’m not.

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