Chris Rock speaks at #MLKNow event (photo via lifestream.com) Chris Rock brought the powerful words of James Baldwin to life Monday during a tribute at the “MLK Now” event in Harlem honoring the late Martin Luther King, Jr.
The program, put together by the Campaign For Black Achievement and Blackout for Human Rights — organizations committed to social justice — took place at Harlem’s Riverside Church, where King delivered his riveting 1967 speech, “Beyond Vietnam: A Time To Break Silence.”
The event attracted a bevy of black Hollywood stars, who celebrated the legacy of King and other black historical icons. Some stars paid tribute through musical performances, like India.Arie, who praised Shirley Chisholm. Others, including Rock, gave powerful recitals.
Rock, who will host the Oscars next month, read the words to Baldwin’s widely praised 1963 letter, “My Dungeon Shook.” Watch Rock’s full performance (he takes the stage around the 1:44 mark) by clicking here.
“Creed” Director Ryan Cooler (photo via buzzfeed.com)
After several months of meeting with various black directors and not locking one to helm “Black Panther,” it’s finally confirmed that “Creed” director Ryan Coogler is in negotiations to direct the action film for Marvel and Disney, TheWrap reports.
The studio has been desperate to lock a black director, and had considered Ava Duvernay and F. Gary Gray for the project. Marvel and Coogler had discussed the movie in the past, but both sides cooled on the negotiations until recently resuming talks. EUR previously reported on Coogler’s comments regarding why the race of the director is important on projects such as “Black Panther.” He explained ScreenRant, ”Yeah, I think it’s important. Perspective is so important in art. That’s not to say that you can’t work outside yourself.”
Since the critically acclaimed success of Coogler’s tragic drama “Fruitvale Station,” he has had his pick of projects, including the “Rocky” franchise, casting his “Fruitvale” star Michael B. Jordan as the son of Apollo Creed. The Oscar-buzzed film grossed nearly $30 million its opening weekend.
When asked during a recent interview how important it was “to build a central narrative of a black boxer in a film that doesn’t directly address race,” Ryan responded:
“It was very important. When I would watch “Rocky” films, Apollo was the guy that I identified with as a young black man, because I grew up as an athlete for most of my life. With boxing, we have a long history of the greatest American fighters and so many of them are black and Hispanic but you don’t see that representation in cinema so I was really excited.” Chadwick Boseman is set to star as T’Challa, the superhero in charge of a fictional African nation called Wakanda. The character will first be introduced in “Captain America: Civil War.”
“Creed” is currently playing in theaters across the country. “Black Panther” is scheduled to be released Nov. 3, 2017. article by Ny MaGee via eurweb.com
According to Variety.com, former William Morris Endeavor (WME) agency partner Charles King has lined up Apple heiress Laurene Powell Jobs as the leading investor in MACRO, the media company King recently founded to produce content for the African-American, Latino and multicultural markets.
King announced Wednesday that Jobs’ Emerson Collective would head the first round of investment in his company, with contributions also coming from a host of other technology and innovation firms and individuals, including Michael Kassan’s Medialink, and MNM Creative, a multi-national media and entertainment company. The announcement did not describe the size of the individual investments in the initial funding round, but put the total infusion in the eight-figure range.
King left the talent agency and announced the formation of his new company at the beginning of the year, with a focus on building ownership of creative properties conceived and made by minority artists. One of the most prominent minority agents in Hollywood, King was the long-time representative of multi-hyphenate Tyler Perry. MACRO has signaled that it will be announcing projects with filmmakers Ryan Coogler (“Fruitvale Station”) and Craig Brewer (“Hustle & Flow”).
Other investors in MACRO include Raymond McGuire, the global head of corporate and investment banking at Citigroup, tech entrepreneur Justin Yoshimura and Michael Kane, managing director of the Los Angeles-based private equity firm Caltius Capital.
Jobs is the widow of Apple computer founder Steve Jobs. Her net worth has been pegged by Forbes at more than $18 billion. Her Emerson Collective had previously provided seed money to small startups focused on education and health care.
“Charles is uniquely poised to lead what’s sure to become the kind of media company that will launch careers and brands, but more importantly, add rich value to our entertainment culture,” Jobs said in a statement. “Charles has an extraordinary set of creative instincts — he’s demonstrated a remarkable ability to amplify talent, trends and content to multi-cultural audiences throughout his career.”
King said that his company would serve a market that “has been vastly underserved for too long.” He called the newly-announced investors “boundary-pushing, innovative thinkers and leaders in their respective fields of technology, finance and media.” original article by James Rainey; additions by Lori Lakin Hutcherson
This is two minutes and forty three seconds of just pure sublime. It’s Ryan Coogler’s Creed, the MGM/New Line film that Warner Bros will release this fall. This isn’t just another installment of Rocky. After Coogler and Michael B. Jordan teamed on the Sundance sensation Fruitvale Station, each of these young guys had their pick of projects. Coogler used his currency on his dream to make Creed. Turns out that while he was growing up, Coogler’s father showed him the Rocky movies to instill the notion of heroes and the idea that dreams can come true with hard work.
As he became an accomplished wide receiver at Sacramento State and a budding filmmaker, Coogler’s father later came down with ALS. All of the touchstones of his life are rolled into this movie and it required him to win the trust of Sylvester Stallone, who was very protective over his first and most memorable character creation. When the movie became a reality, there was no one else he wanted to play the role of Apollo Creed’s son (it started out as grandson, but that evolved).
It is becoming a right of passage for actors to play ring heroes, and, just like Jake Gyllenhaal in Southpaw, Miles Teller in Bleed for This and Edgar Ramirez in Hands Of Stone, Jordan accepted the challenge and got himself into rocking gym shape. The film follows the late Apollo Creed’s son Adonis Johnson stepping into the boxing ring, a profession which killed his father in Rocky IV when he battled Russian fighter Drago. “Your Daddy died in the ring,” a trainer reminds the young Creed who retorts, “That got nothin’ to do with me.” Adonis turns to Rocky Balboa to train him. At this point, The Italian Stallion has completely checked out of the boxing game.
Best part in the trailer that will raise hairs, is when the young Creed meets Rocky:
“I heard about a third fight between you and Apollo behind close doors, is that true?,” asks the fighter.
“How do you know all this?” asks Rocky.
Declares Johnson: “I’m his son.” article by Anthony D’Alassandro via deadline.com
One of Hollywood’s most powerful black agents is making a new start. Charles King is leaving William Morris Endeavor to form MACRO, a startup that will focus on developing content for multicultural audiences.
With an unspecified “eight figures” in funding, Los Angeles-based MACRO initially will focus on developing and distributing feature films, TV series and digital content targeting African-American, Latino and multicultural markets.
King, 45, whose clients have included Tyler Perry and Oprah Winfrey, tells The Hollywood Reporter that MACRO’s goal is to focus on audiences that have long been underserved by the traditional entertainment industry. “I’ve been sitting in these rooms for the last 15 years. The studios aren’t focused on it; the packagers aren’t focused on it,” he says. “There’s a huge void and a huge opportunity.”
He points to the lack of capital available to minority-focused filmmakers and says he’s looking to change that with MACRO, which will leverage crowdfunding platforms and co-financing to target films that range from “artistically inclined independents” in the $1 million to $3 million budget range up to $20 million projects. He points to films such as Barbershop, The Butler and Ride Alongas examples of the types of projects he hopes to produce. “The one underlying theme is ‘premium,’ ” he says. “I’m looking for artistic integrity.”
King already has lined up projects from filmmakers Ryan Coogler (Fruitvale Station) and Craig Brewer (Hustle & Flow). Both were represented by King at WME and say they jumped at the opportunity to continue to work with him in a new capacity.
Following the announcement that police officer Darren Wilsonwould not be indicted for the murder of Michael Brown in Ferguson, MO, several human rights groups have sprung into action to protest the decision and push back against undue violence at the hands of police.
In the entertainment community, Blackout for Human Rights, a “network of concerned citizens who commit their resources to immediately address the staggering level of human rights violations against fellow Americans,” has been active in the past few months with a series of videos calling for a nationwide boycott of all major retailers this Black Friday, the major shopping day following Thanksgiving.
One hope is that pressure from the community will cause Wilson to be held accountable at a federal level.
The group, which counts filmmakers Ryan Coogler, Shaka King, Terence Nance, Rick Famuyiwa and others among its members, is using the hashtag #BlackOutBlackFriday to put the call out on social media for supporters to participate in “a nationwide day of action for human rights awareness, as opposed to a day of consumerism.”
To watch the first few videos, click here. article by Jai Tigget via blogs.indiewire.com
Steve McQueen wins Best Director and accepts Best Picture Award for “12 Years A Slave”
Lupita Nyong’o wins Best Supporting Actress
John Ridley wins Best Adapted Screenplay
According to Variety.com, 12 Years a Slave dominated the Independent Spirit Awards today, winning Best Feature, Best Director for Steve McQueen, Best Supporting Actress for Lupita Nyong’o and Best Adapted Screenplay for John Ridley. 12 Years also took the cinematography award for Sean Bobbitt.McQueen dedicated his Best Director award to Solomon Northup, whose life and book was the basis for the searing historical drama, and also gave thanks to Chiwetel Ejiofor — the “soul” of the film.
In her acceptance speech, a composed Nyong’o said breathlessly that she had not been aware initially of the distinction of independent films, but said she then realized, “Independent film is where stuff actually happens.” Nyong’o noted that it was her birthday and concluded her speech by thanking her mother for supporting her choice to become an actress. Fruitvale Stationfinally gained some much-deserved recognition this awards season, winning Best First Feature for writer/director Ryan Coogler and its cast. Coogler gave a moving acceptance speech honoring Oscar Grant that received a standing ovation. Matthew McConaughey won the best actor trophy as an activist for Dallas Buyers Club and Cate Blanchett took the best actress award for her portrayal of the neurotic title character in Woody Allen’s Blue Jasmine. A full list of winners appears below.
In order to be nominated, each film has to have less than a $20 million production budget. To vote, one need only buy a $95 per year membership in Film Independent, the nonprofit arts organization that also produces the Los Angeles Film Festival.
FRUITVALE STATION Cast: Michael B. Jordan (Oscar Grant), Octavia Spencer (Wanda), Melonie Diaz (Sophina), Ariana Neal (Tatiana), Kevin Durand (Officer Caruso), Chad Michael Murray (Officer Ingram),Ahna O’Reilly (Katie) Written & Directed by: Ryan Coogler Rated: R The Weinstein Co.
Review by Lori Lakin Hutcherson I intended to write this review two weeks ago, when I saw Fruitvale Station in limited release. Two things occurred to prevent that – one ordinary: my babysitter cancelled, so bye bye writing time – and one extraordinary: George Zimmerman was found not guilty of killing Trayvon Martin the very next day. In the wake of the national outrage and protests and vigils, I thought my review of Fruitvale Station couldn’t help but be greatly affected. But as the film goes into wide release on 1,064 screens today, I realize I feel exactly the same about the film as I did two Fridays ago. Put plainly, Fruitvale Station is the most riveting, artfully-told, written, directed and acted movie of the year, it should win 2013 Academy Awards for Best Picture, Best Actor, and Best Director, and every adult living should immediately make all efforts to see this movie and receive a mind-and-heart-altering reminder that every single person alive, no matter what sex, creed, color or age, has humanity that deserves recognition and respect. The basics of the story are probably already known to most: Bay Area-based writer/director Ryan Coogler was deeply moved by the tragic shooting of fellow Bay Area native Oscar Grant, a 22 year-old black man who was killed at the Fruitvale BART Station by police on New Year’s Day 2009. Coogler wanted to show what Grant’s last day of life was like, so people would see not just a victim or a thug, but who and how Oscar really was. And not just the good or misunderstood parts of Oscar, but also the bad, the funny, the sweet and the ugly – and know he was a vibrant, complex being who in no way deserved the callous and all-too-common fate he received. The movie opens stunningly with real cellphone footage of Oscar Grant’s murder. If you’ve never seen it before (which I hadn’t), it is gutting. I involuntarily burst into tears – I was just so sad and angry and shocked at the injustice – it took a lot to pull myself back into the movie and get to know Oscar in life as viscerally as I did in death. As much as it smarts, Coogler’s choice to start the film this way is brilliant, because it communicates powerfully the underlying truth of what’s to unfold – you may be watching a movie, but do not ever forget – THIS WAS REAL. Fruitvale then segues into off-screen dialogue between Oscar (Michael B. Jordan) and his girlfriend Sophina (Melonie Diaz) much earlier that morning. She is upset with Oscar because of an infidelity he tries in vain to explain away. As they get their young daughter Tatiana (Ariana Neal) ready for school, we learn Oscar is a sweet, loving and permissive father (he sneaks his daughter the extra snack her mom said she couldn’t have) who sells dope sometimes to make ends meet. As we continue with Oscar through the challenges and banality of his morning (stretching the gas in his tank before filling up, texting his Mom “Happy Birthday”, dropping his girlfriend off at work, picking up food for his mom’s party, worrying about rent) we learn he’s been in and out of prison several times and is struggling to get it together. Oscar, mind-blowingly portrayed and embodied by Jordan, comes off as equal parts charismatic, tough, caring and desperate. In one moment he is helping a customer in the deli where he worked figure out how to cook fish by putting her on the phone with his Grandma Bonnie; the next he is defiantly demanding/begging his ex-boss to rehire him. When he doesn’t get his job back, Oscar immediately plays it off with a co-worker, lies with a smile, and acts like it’s all good. The code switching Oscar goes through in this one day – the subtly different-yet-specific ways he behaves and speaks with his daughter, his mom, his sister, girlfriend, his homies, his boss – is, I think, the key revelation of the film, and why this story is connecting with audiences everywhere. Oscar Grant, the young, black, ex-convict drug dealer is, surprisingly, an everyperson, dealing with the same contradictory bundle of human dynamics, dramas and relationships we all do. When Oscar makes a pivotal choice to change his life mid-way through the film (after reflecting on time he spent in jail), he drops his tough-guy mask and confesses to Sophina that he lost his day job and has taken himself out of the dope game. When Sophina starts to go in on him (understandably – it’s clear she’s been through a lot with him), her strength and humanity shine through when a few beats later she forgives and supports him despite the immediate hardship his actions are creating. Diaz is perfect in this underplayed moment – Sophina, more than anybody, sees the vulnerable Oscar and whether or not she fully believes in his potential, she loves and respects him enough to support him on his stilted journey towards betterment. A lot more happens in the movie before we get to the fateful moment on the BART platform at Fruitvale on New Year’s Eve 2008/New Year’s Day 2009, but truly, instead of reading a summary of it here, you should just go see it for yourself. Do let me say though that Octavia Spencer, who plays Oscar’s mother Wanda… well, what she does in the movie is beyond deserving another Oscar (which, of course, she does). She should open up acting clinics and teach other actors how real people actually behave in extreme circumstances. If the viewers I was in the theatre with weren’t crying before, the way Spencer reacts to the news of Oscar’s death and her subsequent viewing of his body in the hospital caused an all-out, audible sob fest. From beginning to end, the whole movie feels authentic, without a shred of manipulation. Though there is definite filmmaking throughout Fruitvale Station and filmic choices being made, they are seamless and only enhance the raw power and poignancy of the story. Even at a relatively short running time of 1 hour 30 minutes, I came out of the theater feeling as if I’d lived another life. And I did. I lived Oscar Grant’s life and was deeply, sorely sad it was gone. And the great thing – I wasn’t alone. The whole audience felt it for 90 minutes – black, white, male, female, young, old – we all felt like we were Oscar Grant.
“Fruitvale Station” Director Ryan Coogler and Actor Michael B. Jordan (Bryan Bedder/Getty Images)
After over-performing at the box office in the past two weekends and receiving stellar reviews since its premiere at Sundance, Fruitvale Station director Ryan Coogler and actor Michael B. Jordan may now be looking to move into the boxing ring for their next project. MGM has set Coogler to direct, and is in early talks with Jordan to star in, Creed, the latest installment in the Rocky franchise that would focus on Apollo Creed’s grandson. Sylvester Stallone is on board to reprise his role as Rocky Balboa, with Coogler penning the script along with Aaron Covington. Deadline Hollywood broke the news. The story would follow Creed’s grandson, who has grown up reaping the spoils of all his grandfather’s winnings and is forbidden by his family to enter the world of boxing. Against his family’s wishes, he is drawn to boxing and seeks out Balboa to teach him how to fight and follow in his grandfather’s footsteps. Irwin Winkler and Robert Chartoff, who produced the original film, will produce with Stallone and Kevin King. article by Justin Kroll via Variety.com
Director Ryan Coogler poses for photographers during a photo call for the film “Fruitvale Station” at the 66th international film festival, in Cannes, southern France. Coogler’s “Fruitvale Station” _ his first dramatic feature and first project since graduating with a master’s degree in 2011 _ won both jury and audience awards at the Sundance Film Festival, and attended the Cannes Film Festival. (AP Photo/Francois Mori, file)
LOS ANGELES (AP) — Ryan Coogler is back on the University of Southern California campus for the first time since becoming one of the country’s most promising young filmmakers, and he heads straight to the camera-rental center where he worked as a student. He runs into a former classmate, who high-fives and congratulates him, then asks for a photo. Coogler sheepishly obliges. “This is inspiring, right here!” the younger man says as he snaps an iPhone shot of himself and Coogler. “Thank you, bro!” Coogler gives the student his email address, then looks for his old boss, the equipment manager, who tells the 27-year-old filmmaker that he’s set a new standard for success at USC’s film school, which counts Ron Howard and George Lucas as alumni. There’s no doubt he has. Coogler’s ”Fruitvale Station” — his first dramatic feature and first project since graduating with a master’s degree in 2011 — won both jury and audience awards at the Sundance Film Festival, where the Weinstein Co. outbid a dozen studios to distribute it. Originally called simply “Fruitvale,” the film opens Friday in New York and Los Angeles, and around the nation later this month. Oscar buzz has already begun.
As he became an accomplished wide receiver at Sacramento State and a budding filmmaker, Coogler’s father later came down with ALS. All of the touchstones of his life are rolled into this movie and it required him to win the trust of Sylvester Stallone, who was very protective over his first and most memorable character creation. When the movie became a reality, there was no one else he wanted to play the role of Apollo Creed’s son (it started out as grandson, but that evolved).
Following the announcement that police officer Darren Wilson 
