Word: hollywoodizations
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Dates: during 1990-1999
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...question is, Will the impact last? "Every five or seven years, Hollywood gets a wake-up call," says Reuben Cannon, a black producer and TV casting agent. "It started with She's Gotta Have It in 1986. But the studios forget that the most active filmgoing audience is African Americans. If you make films, they will come, but it's got to be a quality film...
...result, black filmmakers say, Hollywood is often cool to film concepts that don't include pimps, drive-bys, sexual antics or, preferably, all three. Debbie Allen, producer of Amistad, a film about a real-life 19th century slave revolt, spent several years looking for backers before Spielberg signed on to direct it (the film will be out in December). Kasi Lemmons, writer-director of Eve's Bayou--which deals with family secrets, sisterly friendship and voodoo--had a similar experience. "We were turned down by everyone," says Lemmons. "They all said they loved the script, and then they...
...director of Boomerang, says it will ultimately require black films with widespread appeal and mega-box office grosses to clear the way for a wider range of African-American moviemaking. "You really have to gross $100 million to change perceptions," says Hudlin. "Then you get into a situation where Hollywood has to leave you alone and let you do your thing." In other words, if enough moviegoers start talking back to the screen, maybe Hollywood will begin to listen...
Once is a fluke, twice a hope, three times a trend. So, with the pretty box-office numbers for Soul Food following the $70 million that Waiting to Exhale earned in early '96, and with the highly touted Eve's Bayou opening in two weeks, maybe Hollywood will stop being surprised every time the black middle class goes to see itself on screen...
...pair of box-office duds. But what duds! The two films have survived in critical esteem to be numbered among the more significant films of the 1970s--itself one of the more cinematically significant decades. Malick, however, is probably even better known for not only exiling himself from Hollywood, like Lucas and Kubrick, but also for having willfully removed himself from the public eye altogether and becoming, as it is commonly said, the J.D. Salinger of movies. Out of the aforementioned trio, you certainly wouldn't have guessed that Malick would be the one directing seemingly every other male movie...