Genius In Motion

16 Search Results for "lee"

• sacrifice sacrifice

  • From: DVFILMPRO
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    one friend loose his life which change another

  • 9 months ago
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• Straight from Harlem: Suzanne Straight from Harlem: Suzanne de Passe

  • From: GeniusInMotion
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    It’s a long way from the Motown hit factory to the dusty trails of Lonesome Dove (1989), but Suzanne de Passe made that journey, achieving staggering success in the worlds of pop music, film, and television along the way. De Passe’s career began auspiciously in the late 1960s when she discovered and developed the legendary Jackson 5 while a young executive at Motown Records. In 1981, de Passe was named president of Motown Productions, where she focused on television production with a series of high-profile, critically lauded, and award-winning specials such as Motown 25: Yesterday, Today, Forever (1983) and Motown Returns to the Apollo (1985). Then in 1989, a particularly daring production from de Passe looked beyond the storied history of Motown records to a then-unpublished manuscript by Larry McMurtry in the unfashionable western genre: Lonesome Dove. The miniseries was a triumph, winning Emmy, Golden Globe, and Peabody Awards. In 1992, de Passe founded her own production company, de Passe Entertainment. Firmly established as one of the leading entertainment executives—her career is the subject of two case studies taught at the Harvard Business School—de Passe is frankly outspoken about her frustrations with the status quo, noting, “I find that what’s between me and my audience…is a white guy in a suit!”

    Suzanne de Passe was born in Harlem, New York, to a schoolteacher and an executive with Seagrams, Inc. She attended the progressive New Lincoln School, which she credits for her assertive, self-assured approach to business. De Passe joined Motown in 1968 after being introduced to founder Berry Gordy by Cindy Birdsong, a singer with the label’s Supremes. It was in her capacity as “creative assistant” to Gordy that she became aware of the Jackson 5, a fledgling singing group distinguished by the soaring tenor of its nine-year-old front man, Michael. De Passe sold Gordy on the group after watching them perform in an acquaintance’s apartment. Charged with developing the group, de Passe shepherded the five brothers to worldwide fame. It was in this period that de Passe cowrote the screenplay for Lady Sings the Blues, the 1972 film treatment of the life of Billie Holiday, for which she earned an Academy Award nomination.

    Gordy sold Motown Records in 1988, planning to focus on Motown Productions in an effort to expand into film and television production. De Passe was named president, and Time magazine inaugurated her as “one of the most promising new mini-moguls in Hollywood.” That promise was soon fulfilled, as de Passe came away from a chance meeting with author Larry McMurtry with the rights to Lonesome Dove. De Passe later recalled the meeting: “I asked him what he had kicking around the old trunk that hadn’t been produced on film. He told me he had a book coming out in June but didn’t think I’d be interested because it was a western. I told him on the contrary that I would be very interested. I love westerns and have been a horsewoman for a long time.” McMurtry was unable to interest any studios in making the project, but de Passe’s uncanny instinct for recognizing quality remained intact. Lonesome Dove became a landmark miniseries, critically acclaimed and award-laden. The production attracted such luminaries as Robert Duvall, Tommy Lee Jones, and Anjelica Huston and revived a moribund genre, inspiring several sequels. De Passe also produced a number of television specials honoring the Motown legacy, including the above-mentioned Motown 25 and Motown Returns to the Apollo, both winners of Emmy and NAACP Image Awards. De Passe personally won Emmy Awards for these two events, which were both culturally significant and tremendously entertaining programs. She also executive produced Small Sacrifices, a Peabody Award–winning miniseries adaptation of the much-admired book by Ann Rule.

    De Passe formed her own production company, de Passe Entertainment, in 1992. Among her productions in this period were the situation comedies Sister, Sister and Smart Guy and the miniseries The Temptations (NAACP Image Award winner) and The Jacksons: An American Dream. In the Jacksons project, de Passe had the unusual experience of casting an actor to play herself. She chose the glamorous Vanessa Williams, noting, “I took no little amount of heat from my friends, like really Miss Thing!”

    De Passe’s extraordinary career has been recognized with an American Women in Radio and Television Silver Satellite Award and her induction into the Black Filmmakers Hall of Fame, among many other honors. She teaches at Howard University, where she holds the Time Warner Endowed Chair in Media, and continues to be an active presence in entertainment media.

     

    *shemadeit.org

  • Blog post
  • 11 months ago
  • Views: 117
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• JESUS IS CALLING YOU JESUS IS CALLING YOU

  • From: DVFILMPRO
  • Description:

    This video is about giving your life over to god.

  • 1 year ago
  • Views: 19
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• daffany20

  • Views: 16
  • Since: 1 year ago

• Bruce Lee Bruce Lee

  • From: GeniusInMotion
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    Enter The Dragon Poster
  • 1 year ago
  • Views: 29
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• Is Doing The Right Thing Artis Is Doing The Right Thing Artistic Slavery?

  • From: GeniusInMotion
  • Description:

     

    Spike Lee recently had an interview with Ed Gordon on Our World with Black Enterprise where he expressed his frustration with Tyler Perry’s “House of Payne” and “Meet The Browns.”

    “We’ve had this discussion back and forth. When John Singleton [made 'Boyz in the Hood'], people came out to see it. But when he did ‘Rosewood,’ nobody showed up. So a lot of this is on us! You vote with your pocketbook, your wallet. You vote with your time sitting in front of the idiot box, and [Tyler Perry] has a huge audience. We shouldn’t think that Tyler Perry is going to make the same film that I am going to make, or that John Singleton or my cousin Malcolm Lee [would make]. As African-Americans, we’re not one monolithic group, so there is room for all of that. But at the same time, for me, the imaging is troubling and it harkens back to ‘Amos n’ Andy.  Each artist should be allowed to pursue their artistic endeavors, but I still think there is a lot of stuff out today that is coonery and buffoonery. I know it’s making a lot of money and breaking records, but we can do better.…I am a huge basketball fan, and when I watch the games on TNT, I see these two ads for these two shows (Tyler Perry’s 'Meet the Browns' and 'House of Payne'), and I am scratching my head. We got a black president, and we going back to Mantan Moreland and Sleep ‘n’ Eat?” –Spike Lee  (newsone.blackplanet.com)

    There have been a lot of discussions about the state of African American images in film and television. Most ethnic groups face this same dichotomy.  As artists one should be able to pursue any genre of entertainment that appeals to them and that they are passionate about.  Equally, one should be conscious and understand the magnitude of their power when dealing with products for mass consumption, such as weekly television shows that shape our collective consciousness as a society.  

    Tyler Perry has obviously experienced resounding success and this success could only come from having an audience that put their hard earned dollars towards supporting his work.  Perhaps Lee is taking things too seriously here?  Should the Tyler Perry’s of the world be held to a certain standard of storytelling and performance?  If so, who determines what that standard is?   It seems that we would have to look to the consumer who has in this example made their choice crystal clear.  The African American dollar seems to favor these types of movies, sending a direct message to the “powers that be” as to where they will invest their disposable income, and more significantly, their time.  Is it any wonder then that when “Once Upon Of Time When We Were Colored,” “Rosewood” or “Malcolm X” failed to hit the big box office numbers studios resort back to what financially works?   

    Let’s weigh the pro’s and the con’s here.  Tyler Perry has opened up a gateway for non-working actors, as well as helped break new talent.  Yet, if this is all African-American talent can look forward to, perhaps the future is pretty dismal. Tyler Perry’s movies always seem to have a spiritual lining ripe with positive messages. Yet, it’s not the most flattering reflection of African American life and is sometimes downright embarrassing.  Despite this, Tyler Perry has been able to carve a niche for himself as an entrepreneur and an artist in an industry that is very difficult to penetrate.  One is left to wonder to what extent he understands and embraces the theory that with opportunities come certain, perhaps unspoken obligations.  So, where do we draw the line between art and responsibility? Must artists be shackled by these types of rules and be required to elevate their race?  It is clear that Lee has taken on this level of consciousness all throughout his career.  Yet, was that a mandate or a choice? Perhaps in the greater scheme of things there may be many projects that Lee desires to make but opted for something he felt would be more meaningful to the global community?  Maybe as artists the unspoken responsibility to show a broader spectrum of the human experience for a particular ethnic group, and not just relegate ourselves to seemingly “safe” stereotypes and formulas that “work”, shouldn’t be disregarded. 

    Does it bottom-line at integrity or dollars?  Where does one stop and the other begin, and is it as simple as that?  It is really a hard place to be for any artist because those lines can become blurred very easily.  Seems like more than anything, today’s Artists will have to continue to reach a place where that choice will no longer matter because there will be a wide-range of images, and not only a reinforcement of clichés and stereotypical ones. However, until that wonderful and glorious day comes perhaps it’s an obligation that one can’t really afford to ignore?

     

  • Blog post
  • 1 year ago
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• Martin Guigui - Director (part Martin Guigui - Director (part 1 of 2)

  • From: GeniusInMotion
  • Description:

     

    Martin Guigui has directed 5 Films, all which he raised the financing for.  Two of those films he successfully self distributed.  Martin has written 12 screenplays, 4 of which have been produced.  Guigui has also produced over 40 music albums.

    Born in Buenos Aires Argentina, son of Symphony Orchestra Conductor Efrain Guigui, Martin grew up in New York, Puerto Rico and Vermont.  Guigui began his film career while a student at Hofstra University and soon thereafter won several student film festival awards for his shorts and documentary films.  Guigui worked the New York stand-up circuit, wrote for Saturday Night Live, was an editor/sound engineer at ABC News, Produced documentaries for PBS and enjoyed acting stints, starring in the indie cult classic “Time Chasers.” 

    Guigui then wrote his first feature film, “MY X-GIRLFRIEND’S WEDDING RECEPTION” and went on to direct and star in the quirky comedy with Dom DeLuise and Debbie Gibson. Tooted by Rolling Stone as the “Spinal Tap of wedding receptions”, he won critical acclaim in the Festival circuit garnering “Best Comedy” award at the Monte Carlo Comedy Festival and“Audience Favorite” awards at Palm Springs International Film Festival, Fort Lauderdale International Film Festival and the Milan International Film Festival. Guigui won “Best Director” at the Monte Carlo Comedy Fest.  

    Guigui’s second directorial effort “CHANGING HEARTS” starring Faye Dunaway, Tom Skerritt, Lauren Holly, Ian Sommerhalder and Rita Coolidge enjoyed critical acclaim and found it’s way to Golden Globe consideration in three categories including “Best Song”.  Martin then went on to directed “SWING”, starring Jacqueline Bisset, Jonathan Winters, Tom Skerritt, Nell Carter, Barry Bostwick and Mindy Cohn.

    Guigui wrote and directed the blockbuster National Lampoon’s “CATTLE CALL”, released by Lions Gate. He also produced the album soundtrack. Most recently completed “BENNY BLISS AND THE DISCIPLES OF GREATNESS”, his 5^th directorial effort, which Martin also Executive Produced, the first his newly formed company Sunset Pictures as distributor on. 

    Up next, Guigui is directing “SWEETWATER”, a passion project he penned about the first African American to play in the NBA, to be brought to the big screen by producer Michel Shane (“Catch Me If You Can”, “I Robot”) with Guigui Executive Producing as well. Latest exciting news is Martin wrote “Raging Bull II” slated for production in the spring of 2009 and is Executive Producing “American Gladiators” with Scott Mednick (“300”, “Superman Returns”, “We Are Marshals”).

    A grounding quality of Martin Guigui’s heart and soul is his extensive musical background. As a pianist and Hammond B-3 organ player, he has performed and recorded beside John Lee Hooker, James Cotton, Joan Osborne, Bo Didley, Phish, Laverne Baker, Sandra Wright & Soul Kitchen, Bill Sims and Don McClean.  Among others he has opened with his own group for Eddie Money, Talking Heads, Mathew Sweet, Steve Forbert and NRBQ and has produced The Slip, Jim Infintino, Jamie Lee Thurston, Gordon Stone, Kip Meaker and classical pianist Fritz Steinegger.  Guigui, a Grammy voting member of the National Academy of Recording Arts and Sciences, has built a reputation as a skilled composer whose work has appeared in Independent Films, Network Television, and National Radio and children’s programming.

    Guigui received numerous Billboard Awards for his songwriting, ASCAP Performance Awardsand is the proud recipient of a Caesar Award for his contribution as a Hispanic to the arts in America. Martin is a member of The Directors Guild Of America and won a Best Directoraward at the Latin USA Film Festival in New York for his work on "SWING".  Martin is co-founder and President of Sunset Pictures which also houses Sunset Artists Music Publishing and Old School Records, a music label.

    In 2007, Martin founded and brought to fruition one of his lifelong dreams- The First Time Film Festival.  The independent film festival, whose sole mission is to build a bridge for emerging first time filmmakers, was a grand success in its inaugural year bringing in filmmakers and their movies to Los Angeles from around the world and securing distribution for the winning entries.

     Every year, Guigui finds time to organize events to raise thousands of dollars for charities such as Prevention Of Child Abuse, Mr. Holland’s Opus Foundation and Cancer research.

     

  • 1 year ago
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• Martin Guigui - Director (part Martin Guigui - Director (part 2 of 2)

  • From: GeniusInMotion
  • Description:

    Martin Guigui has directed 5 Films, all which he raised the financing for.  Two of those films he successfully self distributed.  Martin has written 12 screenplays, 4 of which have been produced.  Guigui has also produced over 40 music albums.

    Born in Buenos Aires Argentina, son of Symphony Orchestra Conductor Efrain Guigui, Martin grew up in New York, Puerto Rico and Vermont.  Guigui began his film career while a student at Hofstra University and soon thereafter won several student film festival awards for his shorts and documentary films.  Guigui worked the New York stand-up circuit, wrote for Saturday Night Live, was an editor/sound engineer at ABC News, Produced documentaries for PBS and enjoyed acting stints, starring in the indie cult classic “Time Chasers.” 

    Guigui then wrote his first feature film, “MY X-GIRLFRIEND’S WEDDING RECEPTION” and went on to direct and star in the quirky comedy with Dom DeLuise and Debbie Gibson.  Tooted by Rolling Stone as the “Spinal Tap of wedding receptions”, he won critical acclaim in the Festival circuit garnering “Best Comedy” award at the Monte Carlo Comedy Festival and “Audience Favorite” awards at Palm Springs International Film Festival, Fort Lauderdale International Film Festival and the Milan International Film Festival. Guigui won “Best Director” at the Monte Carlo Comedy Fest.  

    Guigui’s second directorial effort “CHANGING HEARTS” starring Faye Dunaway, Tom Skerritt, Lauren Holly, Ian Sommerhalder and Rita Coolidge enjoyed critical acclaim and found it’s way to Golden Globe consideration in three categories including “Best Song”.  Martin then went on to directed “SWING”, starring Jacqueline Bisset, Jonathan Winters, Tom Skerritt, Nell Carter, Barry Bostwick and Mindy Cohn.

    Guigui wrote and directed the blockbuster National Lampoon’s “CATTLE CALL”, released by Lions Gate. He also produced the album soundtrack. Most recently completed “BENNY BLISS AND THE DISCIPLES OF GREATNESS”, his 5^th directorial effort, which Martin also Executive Produced, the first his newly formed company Sunset Pictures as distributor on. 

    Up next, Guigui is directing “SWEETWATER”, a passion project he penned about the first African American to play in the NBA, to be brought to the big screen by producer Michel Shane (“Catch Me If You Can”, “I Robot”) with Guigui Executive Producing as well. Latest exciting news is Martin wrote “Raging Bull II” slated for production in the spring of 2009 and is Executive Producing “American Gladiators” with Scott Mednick (“300”, “Superman Returns”, “We Are Marshals”).

    A grounding quality of Martin Guigui’s heart and soul is his extensive musical background. As a pianist and Hammond B-3 organ player, he has performed and recorded beside John Lee Hooker, James Cotton, Joan Osborne, Bo Didley, Phish, Laverne Baker, Sandra Wright & Soul Kitchen, Bill Sims and Don McClean.  Among others he has opened with his own group for Eddie Money, Talking Heads, Mathew Sweet, Steve Forbert and NRBQ and has produced The Slip, Jim Infintino, Jamie Lee Thurston, Gordon Stone, Kip Meaker and classical pianist Fritz Steinegger.  Guigui, a Grammy voting member of the National Academy of Recording Arts and Sciences, has built a reputation as a skilled composer whose work has appeared in Independent Films, Network Television, and National Radio and children’s programming.

    Guigui received numerous Billboard Awards for his songwriting, ASCAP Performance Awards and is the proud recipient of a Caesar Award for his contribution as a Hispanic to the arts in America. Martin is a member of The Directors Guild Of America and won a Best Director award at the Latin USA Film Festival in New York for his work on "SWING".  Martin is co-founder and President of Sunset Pictures which also houses Sunset Artists Music Publishing and Old School Records, a music label.

    In 2007, Martin founded and brought to fruition one of his lifelong dreams- The First Time Film Festival.  The independent film festival, whose sole mission is to build a bridge for emerging first time filmmakers, was a grand success in its inaugural year bringing in filmmakers and their movies to Los Angeles from around the world and securing distribution for the winning entries.

     Every year, Guigui finds time to organize events to raise thousands of dollars for charities such as Prevention Of Child Abuse, Mr. Holland’s Opus Foundation and Cancer research.

  • 1 year ago
  • Views: 14
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• Bruce Lee: Philosopher, Master Bruce Lee: Philosopher, Master, Hollywood ICON

  • From: GeniusInMotion
  • Description:

    

    The History Channel recently featured the documentary “How Bruce Lee Changed the World”, paying homage to filmmaker and martial artist extraordinaire.  The documentary’s focus was on how Bruce, despite having only made only a few films in Hollywood, continues to have a significant impact on popular culture.  Interviewees included the likes of actor/musician LL Cool J, film director Brett Ratner, comedianne Margaret Cho, body builder Flex Wheeler, and musician/composer RZA of the Wu-Tang Clan.  What was evident in the documentary, and what is most striking about Bruce Lee’s influence on the world was how his philosophy, his astonishing skill as a martial artist, and incredible expertise behind the camera left an indelible mark on people worldwide.

    Bruce Lee’s life philosophy stressed the importance of knowledge of self.  His mantra was simple “be water”.  The importance of incorporating what is useful and disregarding that which is dispensable, or ineffective, was of particular significance in his philosophy.  Part of what is so incredible about these teachings is their simplicity.  They seem very basic, and yet are so powerful--anyone can adopt them, a child or a grown adult.  Lee’s thinking was universal, and his depth, dedication, charm and larger-than-life spirit, cemented its place in pop culture, and reached across all color lines.

    A pioneer in his own right, Lee’s development of Jeet Kune Do (JKD) or Way of the Intercepting Fist brought something fresh and exciting to martial arts.  The documentary cited the premise for his fighting style as the basis for urban art forms including hip hop dancing by B-Boys and B-Girls and Free Running.  His principles of being simple, direct, and non-classical are evident in both.  Both styles of artistic interpretation through body movements have been brought to life by diverse groups of people from all over the world who continue to implement his teachings today.  Lee’s symmetrical physique is also cited as the foundation for the way in which body builders train and develop their muscles.  Flex Wheeler cites Lee as a pioneer in his incorporation of weight training for martial arts, which has become a standard practice today.

    Bruce Lee’s skills didn’t stop at being a premier martial arts master and philosopher.  His beliefs and mastery of JKD served him well both in front of and behind the camera.  The documentary exemplified the ways in which Lee was an adept choreographer behind the scenes and a talented filmmaker.  His ability to manipulate the way in which the camera captured moves was groundbreaking. 

    The documentary chronicled Lee’s struggle to be acknowledged by the Hollywood establishment.  It highlights an instance where Lee was mistaken for a driver on the set of the TV series Green Hornet.  Dressed in a Kato costume, Lee was approached as though he was a chaffeur by the show’s producers.   When they were made aware that he wasn’t a driver, but was actually the co-star of the series, they brushed it off.  Lee was later asked about the incident, and his feelings about being stereotyped.  He was said to reply “if I let that affect me I wouldn’t be Bruce Lee.”

    Lee was most certainly a front-runner in breaking down the barrier and opening up the film industry to other Asian-Americans.  Jackie Chan, not only worked with Lee, but to this day still considers him “the best”. Margaret Cho talked about Lee’s influence in terms of breaking into the entertainment industry and bringing her brand of comedy to Hollywood.  More significantly, Lee’s influence crossed the color lines.  The documentary also features The RZA who comments on how Lee has influenced his way of life, his art, and the foundation of his rap group “The Wu-Tang Clan”.  Bret Ratner talks about how Lee’s movies were a big influence on his work as a director, and how he has paid homage to them in his own work.

    Lee’s legacy is most certainly obvious from his teachings, development of JKD, as well as the film and televison work he left for us to embrace and enjoy.  His untimely demise only leaves us to wonder what more this incredible artist could have accomplished were he to have lived well past his 32 years.  Regardless of what could have been, we celebrate Bruce Lee for what he was a martial arts master and Hollywood trailblazer. 

     

  • Blog post
  • 1 year ago
  • Views: 227
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• Sleep Dealer Trailer Sleep Dealer Trailer

  • From: Videos
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  • 1 year ago
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• Sayonara, Hollywood! A Salute Sayonara, Hollywood! A Salute to Miyoshi Umeki, Singer and Actress (1929 – 2007)

  • From: GeniusInMotion
  • Description:
    A Japanese native, Miyoshi Umeki was a singer and actress in Hollywood for almost 20 years.  Esther Rolle had a 53-year career in show business.  Though her parents didn’t approve of western culture, Miyoshi influences included the likes of Doris Day and Peggy Lee, whom she imitated in secret.  She also heavily inspired by Kabuki Theater.  Early on in her career in Japan, Miyoshi performed under the name “Nancy Umeki” singing American standards in nightclubs.  She soon moved to the U.S. and became a naturalized citizen in 1955 and became a mainstay in the entertainment industry. 
    
     
    The American music and film industry was introduced to  Miyoshi during her stint on the Arthur Godfrey Talent Scouts.  Miyoshi landed a record deal with Mercury Records and was noticed by “Sayonara” film director Joshua Logan, who immediately cast her in the film.  Miyoshi played opposite Red Buttons, who portrayed a sergeant in the Air Force, as his wife.  Their marriage is doomed, as interracial unions were frowned on by society at the time, and leads to his persecution and invariably results in their double-suicide. Her portrayal garnered Miyoshi an Oscar win for Best Supporting Actress (Red Button also won for Best Supporting Actor).  She was the first and continues to be the only Asian to win an Oscar in the Acting category.    
     
    Miyoshi went on to receive a Tony, as well for her portrayal of “Mei Li” in the Rodgers and Hammerstein production of “Flower Drum Song” in 1958.  The back-to-back wins for Ms. Umeki were unprecedented in the Asian American community.  “The warmth of her art works a kind of tranquil magic, and the whole theater relaxes” boasted a cover story by Time Magazine (Washington Post, September 2007).  The same year as her Tony win, she married TV director Wynn Opie, which ended in divorce 9 years later. During this marriage, Umeki appeared in several films with the same “East-meets-West” themes.
     
    Two years after her divorce, she turned her talents to the small screen in television show “The Courtship of Eddie’s Father, where she played “Mrs. Livingston” the housekeeper for three years on ABC.  She also re-married during this time to Randall Hood and adopted a son who they named Michael.  After her run on “The Courtship of Eddie’s Father”, she retired her on-screen career and operated an LA-based editing equipment rental house, whose clients were film studios and universities.  She eventually retired and joined her son in Missouri where she died from complications related to Cancer in 2007 at the age of 78 (Wikipedia).
     
    Genius In Motion salutes Miyoshi Umeki’s work in the entertainment industry and for being a pioneer for Asian-Americans in film, music and television.
     
    Check out videos of Miyoshi in our videos section!

  • Blog post
  • 1 year ago
  • Views: 122
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• Robi Reed-Humes Casting Direc Robi Reed-Humes Casting Director ( part 1 of 2 )

  • From: GeniusInMotion
  • Description:

    Casting Director extraordinaire, Robi Reed-Humes has cast films that range from “Antwone Fisher” to “I’m Gonna Git You Sucka”.  Robi started her career working with Spike Lee and went on to cast many of his films including, “School Daze”, “Do The Right Thing”, “Jungle Fever”, “Clockers” and “Malcolm X” for which she was honored with an Artios Award from the Casting Society of America in 1993.

    Robi discovered her passion for casting at a very early age, and with the support of her parents forged a career and a reputation for having a keen eye for talent. Robi’s film casting credits include “Poetic Justice”, “Soul Food”, “Set It Off”, “Love Jones”, and “Gridlock’d”.

    Robi’s television credits include many successful projects such as “In Living Color”,  “Their Eyes Were Watching God”, “The PJs”, “Carmen: A Hip Hopera”, and “The Tuskegee Airmen”, for which she won an Emmy in 1996.  She was nominated for another Emmy in 1998 for “Don King: Only In America” and again in 1999 for the mini-series “A Lesson Before Dying”.

    One of the key things Robi looks for in an Actor is preparation. "Preparation is so important. It's almost inexcusable not to be prepared these days.” She knows you often get one shot and you have to put your best foot forward!

     Robi has several current projects coming up in the next year that are in production which include, “Burning Sands”, “My Name is Khan”, and “Mama, I Want To Sing”. 

  • 1 year ago
  • Views: 131
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• Robi Reed-Humes Casting Direc Robi Reed-Humes Casting Director ( part 2 of 2 )

  • From: GeniusInMotion
  • Description:

    Casting Director extraordinaire, Robi Reed-Humes has cast films that range from “Antwone Fisher” to “I’m Gonna Git You Sucka”.  Robi started her career working with Spike Lee and went on to cast many of his films including, “School Daze”, “Do The Right Thing”, “Jungle Fever”, “Clockers” and “Malcolm X” for which she was honored with an Artios Award from the Casting Society of America in 1993.

    Robi discovered her passion for casting at a very early age, and with the support of her parents forged a career and a reputation for having a keen eye for talent. Robi’s film casting credits include “Poetic Justice”, “Soul Food”, “Set It Off”, “Love Jones”, and “Gridlock’d”.

    Robi’s television credits include many successful projects such as “In Living Color”,  “Their Eyes Were Watching God”, “The PJs”, “Carmen: A Hip Hopera”, and “The Tuskegee Airmen”, for which she won an Emmy in 1996.  She was nominated for another Emmy in 1998 for “Don King: Only In America” and again in 1999 for the mini-series “A Lesson Before Dying”.

    One of the key things Robi looks for in an Actor is preparation. "Preparation is so important. It's almost inexcusable not to be prepared these days.” She knows you often get one shot and you have to put your best foot forward!

     Robi has several current projects coming up in the next year that are in production which include, “Burning Sands”, “My Name is Khan”, and “Mama, I Want To Sing”. 

     

     

  • 1 year ago
  • Views: 49
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• Spike Lee - Director (Part 1 o Spike Lee - Director (Part 1 of 2)

  • From: GeniusInMotion
  • Description:

    SPIKE LEE is a writer-director, actor, producer and author who revolutionized the role of Black talent in cinema.  Widely regarded as a premiere African-American filmmaker, Lee is a forerunner in the ‘do it your self’ school of independent film. Mr. Lee’s current film production, Mircale at St. Anna. Shot on location with the beautiful Italian back country as it’s setting. Based on the book Mircale at St. Anna, wtitten by author James McBride. Lee continues to create cinematic works of art he is well know for. When the Levees Broke, Mr. Lee‘s most recently critically acclaimed film was a huge success. Receiving awards from film festivals world wide. Other critical and box office successes have included such films as Inside Man, 25th Hour, The Original Kings of Comedy, Bamboozled and Summer of Sam.  Lee’s films Girl 6, Get On the Bus, Do the Right Thing and Clockers display his ability to showcase a series of outspoken and provocative socio-political critiques that challenge cultural assumptions, not only about race, but also class and gender identity.

     His debut film, the independently produced comedy She’s Gotta Have It, earned him the Prix de Jeunesse Award at the Cannes Film festival in 1986 and set him at the forefront of the Black New Wave in American Cinema.  His second feature, the very profitable School Daze, helped to launch the careers of several young Black actors.  Lee’s timely 1989 film, Do the Right Thing, garnered an Academy Award® nomination for Best Original Screenplay and Best Film and Director awards from the Los Angeles Film Critics Association.  Lee’s Jungle Fever, Mo’ Better Blues, Clockers, and Crooklyn were also critically well received.  His epic drama Malcolm X, starring Denzel Washington, received two Academy Award® nominations.

     Born in Atlanta, Georgia, and raised in Brooklyn, Lee returned south to attend Morehouse College.  After graduation, he returned to Brooklyn to continue his education at New York University’s Tisch School of Arts in Manhattan, where he received his Master of Fine Arts Degree in film production.  He founded 40 Acres and a Mule Filmworks, based in the Fort Greene section of Brooklyn, where he has resided since childhood. 

     In addition to his film achievements, Lee has produced and directed numerous music videos for diverse artists including Chaka Khan, Tracy Chapman, Anita Baker, Public Enemy, Bruce Hornsby and Michael Jackson.  His other music videos include work for the late Miles Davis and Phyliss Hyman, Naughty by Nature and Arrested Development.

     Lee’s commercial work began in 1988 with his Nike Air Jordan campaign.  Collaborating with basketball great Michael Jordan on several commercials, Lee resurrected his popular character, Mars Blackmon from She’s Gotta Have It.  He has also completed a PSA for UNCF called “Two Michaels,” which also features Michael Jordan.  Lee is also well known for his Levi’s Button-Fly 501, AT&T and ESPN television commercials. His other commercial ventures include TV spots for Philips, Nike, American Express, Snapple and Taco Bell.  Lee has also directed several Art Spot Shorts for MTV and a short film featuring Branford Marsalis and Diahnne Abbott for Saturday Night Live. 

     Lee is also involved in documentaries and sports programs.  He completed the Emmy- and Oscar®-nominated documentary 4 Little Girls for HBO and received an Emmy Award for his piece on Georgetown’s John Thompson for HBO/Real Sports. 

     Additionally, Lee has authored six books on the making of his films.  The fifth book, Five For Five, served as a pictorial reflection of his first five features.  He then followed up with Best Seat in the House, authored with Ralph Wiley. Lee co-authored a children’s book entitled Please Baby Please with his wife Tonya Lewis Lee, and most recently authored a retrospective book about his film career entitled That’s My Story and I’m Sticking To It.

     Ever moving into new areas, Spike Lee has combined his extensive creative experience into yet another venture:  partnering with DDB Needham, he created Spike/DDB, a full-service advertising agency.

  • 1 year ago
  • Views: 84
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• Spike Lee - Director (Part 2 o Spike Lee - Director (Part 2 of 2)

  • From: GeniusInMotion
  • Description:

    SPIKE LEE is a writer-director, actor, producer and author who revolutionized the role of Black talent in cinema.  Widely regarded as a premiere African-American filmmaker, Lee is a forerunner in the ‘do it your self’ school of independent film. Mr. Lee’s current film production, Mircale at St. Anna. Shot on location with the beautiful Italian back country as it’s setting. Based on the book Mircale at St. Anna, wtitten by author James McBride. Lee continues to create cinematic works of art he is well know for. When the Levees Broke, Mr. Lee‘s most recently critically acclaimed film was a huge success. Receiving awards from film festivals world wide. Other critical and box office successes have included such films as Inside Man, 25th Hour, The Original Kings of Comedy, Bamboozled and Summer of Sam.  Lee’s films Girl 6, Get On the Bus, Do the Right Thing and Clockers display his ability to showcase a series of outspoken and provocative socio-political critiques that challenge cultural assumptions, not only about race, but also class and gender identity.

     His debut film, the independently produced comedy She’s Gotta Have It, earned him the Prix de Jeunesse Award at the Cannes Film festival in 1986 and set him at the forefront of the Black New Wave in American Cinema.  His second feature, the very profitable School Daze, helped to launch the careers of several young Black actors.  Lee’s timely 1989 film, Do the Right Thing, garnered an Academy Award® nomination for Best Original Screenplay and Best Film and Director awards from the Los Angeles Film Critics Association.  Lee’s Jungle Fever, Mo’ Better Blues, Clockers, and Crooklyn were also critically well received.  His epic drama Malcolm X, starring Denzel Washington, received two Academy Award® nominations.

     Born in Atlanta, Georgia, and raised in Brooklyn, Lee returned south to attend Morehouse College.  After graduation, he returned to Brooklyn to continue his education at New York University’s Tisch School of Arts in Manhattan, where he received his Master of Fine Arts Degree in film production.  He founded 40 Acres and a Mule Filmworks, based in the Fort Greene section of Brooklyn, where he has resided since childhood. 

     In addition to his film achievements, Lee has produced and directed numerous music videos for diverse artists including Chaka Khan, Tracy Chapman, Anita Baker, Public Enemy, Bruce Hornsby and Michael Jackson.  His other music videos include work for the late Miles Davis and Phyliss Hyman, Naughty by Nature and Arrested Development.

     Lee’s commercial work began in 1988 with his Nike Air Jordan campaign.  Collaborating with basketball great Michael Jordan on several commercials, Lee resurrected his popular character, Mars Blackmon from She’s Gotta Have It.  He has also completed a PSA for UNCF called “Two Michaels,” which also features Michael Jordan.  Lee is also well known for his Levi’s Button-Fly 501, AT&T and ESPN television commercials. His other commercial ventures include TV spots for Philips, Nike, American Express, Snapple and Taco Bell.  Lee has also directed several Art Spot Shorts for MTV and a short film featuring Branford Marsalis and Diahnne Abbott for Saturday Night Live. 

     Lee is also involved in documentaries and sports programs.  He completed the Emmy- and Oscar®-nominated documentary 4 Little Girls for HBO and received an Emmy Award for his piece on Georgetown’s John Thompson for HBO/Real Sports. 

     Additionally, Lee has authored six books on the making of his films.  The fifth book, Five For Five, served as a pictorial reflection of his first five features.  He then followed up with Best Seat in the House, authored with Ralph Wiley. Lee co-authored a children’s book entitled Please Baby Please with his wife Tonya Lewis Lee, and most recently authored a retrospective book about his film career entitled That’s My Story and I’m Sticking To It.

     Ever moving into new areas, Spike Lee has combined his extensive creative experience into yet another venture:  partnering with DDB Needham, he created Spike/DDB, a full-service advertising agency.

     

  • 1 year ago
  • Views: 45
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• Change, Direction, Historic, B Change, Direction, Historic, Belief….

  • From: KCP
  • Description:

    Is just a small collection of words that resonate when we think of President Obama. In order to say how he will influence the world of entertainment, I would use a term “breaking the generalization of cultural themed entertainment.”

    Yes, we can predict all the stereotypical movies and TV shows expected about our new President. His life, his up bringing, the struggle, even Wil Smith tipped to lead a movie helmed by Spike Lee (denied by Spike Lee) according to MTV.com.

    But, let’s take a look at the larger picture. Stereotypes will change. I do agree with Susan Straight's Essay in the LA Times. In particular, the non-existence of the term “the white experience.” Movies and TV shows based on traditional Latin, Asian or Black themes are segregated, but not when they are based on traditional “white themes.” I think this generalization is what will change because of President Obama.

    I would like the generic terms to be demolished, will they? I don’t know, it will take time, but they should be demolished. The reason being, as Americans, we need to be more specific and take the initiative to learn about other cultures, rather than just generalize for convenience. If you want to go as far to say “black themed, Latin..etc,” shouldn’t we be more specific? Or is that our lethargic way to sound cultured?

    President Obama’s Father was Kenyan and supposedly, his Mother had Irish roots, so technically our President is Irish and Kenyan. We like to see him as black and white, but really that’s a generalization. An example of generalization in entertainment is when we refer to a Hip Hop based movie as “black themed.” This is a lazy statement. Not every African American person listens to Hip Hop and comes from an urban neighborhood. Not every person in the movie theater watching this movie is of African American descent. The correct term to use would be “a hip hop movie based in a low income neighborhood.”

    Now, with President Obama in office, I think the industry will be more specific and comprehensive of other cultures. The common elements expected in the “black themed movie” is now inaccurate. I remember President Obama saying to Charles Gibson, in an interview “I’m not a car guy.” What most people come to expect of a “black themed” movie are the 20” rims, flashy cars, and jewelry. Yes, Tyler Perry, Chiwetel Ejiofor, Morgan Freeman and others have been making a difference to this generalization for years, but I think our President’s appointment is going to officially break the barrier.

    Grey’s Anatomy is a great example of how cultural themes are irrelevant because everyone can identify with the characters, regardless of background. Grey’s has African American, Asian, and Latin characters, but their actions and personalities are far from stereotypical. Anyone can indentify with them. You don’t have to be African American to identify with Dr Bailey (Chandra Wilson), Asian to relate with Dr Yang (Sandra Oh) or Latin to understand Dr Torres (Sara Ramirez). The show is more about the “human experience” vs. the cultural experience. On a side note, shows with this general, non-stereotypical base, have a greater chance of success. Did I mention how many awards Grey’s has won? I think we will see an abundance of this type of work, more now then we did before because of our new President.

    I hope the world of entertainment producers and marketers stop generalizing themes by segregating them to a certain culture in order to sell projects. The specificity of the project is what should be used as the theme. Even if they are to use a demographic to target, the term “Latin, Asian, Black” should be removed. How can we generalize a movie or TV show into a certain culture, when our new President is the opposite of generalization?

  • Blog post
  • 1 year ago
  • Views: 113
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