A Quote by Kareem Abdul-Jabbar
I read that Hollywood wanted to film Fences years ago with a white director, but [August] Wilson refused. He thought that the director needed to have lived the culture of black Americans.
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It just happened that we did [Fences] seven years ago on Broadway. Scott Rudin brought me August Wilson's original screenplay for it, and I realized I hadn't read the play. So I read it. Then I realized that Troy (my character) was 53 - and I was 55 at the time. I realized I better hurry up! I might be too old!
It was a big thing for me to read black writers. 'Fences,' by August Wilson. James Baldwin's 'Amen Corner.' 'The Fire Next Time.' 'The Autobiography of Malcolm X,' of course.
In 2009, Scott Rudin sent me August's [Wilson] original screenplay [Fences] and asked me what I wanted to do with it. He wanted to know if I wanted to act in it, direct it or produce it. I said, "Well, let me read it first."
I was first introduced to August Wilson in the 80s when Charles Dutton did Ma Rainey and James Earl Jones and Courtney Vance did Fences. I've long considered August Wilson to be one of the five greatest playwrights in American history.
A lot of times I don't know if I trust the director to tell that film's story. Or I think it's inappropriate for a male director to tell a female story, or a white director to tell a black story. Everyone walks away from a movie differently, because you're relating it to your own life.
Film’s thought of as a director’s medium because the director creates the end product that appears on the screen. It’s that stupid auteur theory again, that the director is the author of the film. But what does the director shoot-the telephone book? Writers became much more important when sound came in, but they’ve had to put up a valiant fight to get the credit they deserve.
I hope that in another way we can move the need to say, instead of being a Black director, or a woman director, or a French director that I'm just a director.
I've always laughed at the term "female director" or even "black director." A director's a director.
I refused to be filmed getting off a bus twice. The director said, 'I'm an award-winning director. Please do it', and I said, 'I never thought I'd say this, but I'm an award-winning actress with a bad leg, and if your film depends on seeing me get in and out of a bus, we're in trouble.'
There's no reason why you can't say "August Wilson, playwright" even though all of my work, every single play, is about black Americans, about black American culture, about the black experience in America. I write about the black experience of men, or I write about black folks. That's who I am. In the same manner that Chekhov wrote about the Russians, I write about blacks. I couldn't do anything else. I wouldn't do anything else.
I had written a tune called 'Shake, Rattle and Roll,' but the white stations refused to play it - they thought it was low-class black music. We thought what we needed was a new name. But a white disc jockey named Alan Freed laid on it, and he thought up the name 'rock n' roll.'
The nature of the beast is that film is a director's medium. It's not a Tracy Letts play, it's a John Wells film. 'August: Osage County,' as a play, is done. Written. On the shelf. It'll be performed in its entirety for years.
It never occurred to me to be a film director, partly because I hadn't seen a single film by a female director, but I liked the idea of being a writer moving to Hollywood and being unhappy; that sounded romantic and fabulous to me.
Before writing a single note of music, and even before the spotting session, I find it best to sit down with the director and just listen to him or her talk about the film - what they're trying to say, what they want the audience to understand or believe, and a thousand other similar questions. The director has most likely been living with the film for years before a composer is attached, and so the director's inclinations, desires, and understanding of the film are paramount.
It's a dumb question, because I don't look at things as a black director, just as a director, so ask me as a director first and we can segue into the colour thing later.
We were doing Scarface many years ago...and I remember having my coffee and looking at the beach, the surf, and I saw a hundred people looking out into the ocean. I thought, what's going on? Did some whale get washed up to shore? So I stood up on the table to see what it was, and it was the director, Brian De Palma, standing there alone by the surf and they were all waiting for him. And I never forgot that because it represented to me what a director is, what a director does.
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