Red Tails Interviews: Terrence Howard, David Oyelowo, and a Real-Life Tuskegee Airman

Red Tails Interviews: Terrence Howard, David Oyelowo, and a Real-Life Tuskegee Airman

Posted on January 18, 2012 at 8:00 am

Dr. Roscoe Brown, who flew planes as one of the heroic WWII Tuskegee Airmen, a black man defending a country still cruelly segregated, fighting in one of the most honored military divisions in American history, saw a film made about their heroic missions and last week attended the White House to meet with the first black President and First Lady of the United States.  It is called “Red Tails” after the distinctive color painted on their planes.  Dr. Brown, who turns 90 this year, earned a PhD, taught at NYU for 27 years, then became president of Bronx Community College, a part of the City University of New York (CUNY).  Dr. Brown and three other Tuskegee Airmen were on the set throughout the filming of “Red Tails” to provide guidance and ensure authenticity.  With three other critics, I spoke to Dr. Brown, director Anthony Hemingway, and actors Cuba Gooding, Jr., Terrence Howard, and David Oyelowo about the film.  We loved meeting the actors, but speaking to Dr. Brown was one of the thrills of a lifetime.

“We were young people, 19, 20, 21, 22-years old,” Dr. Brown told us. “Everybody was in the military at that time.  There were 15 million people in the military, 5 million blacks.  So it was something you did.  You knew you had to do it.  You wanted to defend the country.  And we felt as African-Americans, that if we did well, the larger society would recognize the stupidity of segregation and de-segregate.  Which in fact happened when President Truman signed the executive order in 1948 de-segregating the military, six years ahead of the desegregation of the schools with the Brown decision.  It was something that we had to do but something we wanted to do — particularly in the case of aviation because they said blacks could not do it.  Whenever someone says you can’t do something, you want to do it!  So we said, ‘Let’s be the best we can be.’ And that’s what this film portrays.”  He worked for more than 30 years to try to get a movie made about the experiences of the Tuskegee Airmen, originally with the late director Gordon Parks.  When George Lucas got involved, he brought them out to the Skywalker Ranch, where he had assembled extensive research.  “We sat down in the room and talked to them about how we actually flew, how we used the stick, where we looked, how small the cockpits were — no Tuskegee Airmen were 6’5″ because you had to be small to fit in the cockpit.”  It was important to him to honor those who flew, those who supported them on the ground, and those who did not come home.  He spoke about the difficulty of losing someone one day and having to get up the next day, put that out of his head, and go up again and focus on the target.  And he spoke about what he thought was the real message of the film: “It’s cool to be smart.”

He told us a harrowing story about the time he flew so close to a train he knocked part of the wing off and he was too low to bail out.  He thought he had been hit by anti-aircraft but when they got back the ground crew pulled a piece of the train out of his wing.

The actors told us how much it meant to them to spend time with the real Tuskegee Airmen and bring their story to life.  British actor David Oyelowo plays a brilliant but impulsive pilot with the call sign “Lightning.”  “One of the greatest inspirations for me was getting to hang out with Dr. Roscoe Brown and the other Tuskegee Airmen.  You look in their eyes and you see that glint, that can-do, that audacity that it had to have taken for them to do what they did.  And George Lucas gave us a mandate when he effectively godfathered the movie.  He told us, ‘We want to make a film about heroes, not victims.’  The fighter pilots are the glamor boys of any war.”  He described his character as “someone who can unashamedly say, ‘I’m the best damn pilot in the whole army!’ That was my mandate for playing the character, really.  “So many of the incredible things in the film, blowing up the battleship and the train, these are based on things that actually happened.  When we talked to the real guys, it was like ‘Push it!  We did more!'”  I asked about the challenge of playing a character with so much of the face covered by the oxygen mask.  “That was a frustration. One of the gratifying things was finding out that it was a frustration for you guys,” he said, turning to Dr. Brown.  “They didn’t particularly like these masks, either.  At one point I hint at that, ripping it away from my face.  I remember talking to you and you’d say they’d get sweaty and slip.  They were an encumbrance.  But that’s the job of the actor.  That was one challenge.  Another was that we didn’t have these hundreds of planes all around us.  We had to imagine that in this very controlled environment.  It was a great acting exercise because it did that thing you really want as an actor, to have your imagination very active.”

Terrence Howard spoke about having to respond to the racist comments made by a superior officer (“Breaking Bad’s” Bryan Cranston) within the context of a military chain of command and as a man of the 1940’s whose entire life had been spent under segregation.  “I learned something very early on.  My brother said to me, ‘How do you think God views you?  Does he view you as who you are today or as who you will be once His son’s blood has been poured in your behalf and you’ve had time to gain that?’  I think Colonel Bullard, who was the cinematic example of a man named Colonel Ben Davis, who went to West Point.  No one spoke to him for four years.  He saw them as making mistakes and immature and un-evolved in their understanding of human relationships and abilities.  And so he was always able to look at the better side of people. What was beautiful, is that Cuba and I, after battling against each other in films or trying to get the same role, we actually split Benjamin Davis into two and Cuba was Benjamin on the base and I was Benjamin in Washington.”  He studied the military people of today to learn how they conduct themselves.  “It’s protocol.  It’s respect.  You see the standard and how people hold themselves, the comportment and that is passed on to you.”

They talked to us about what it was like to bring their movie to the White House.  “President Obama was so cool,” said Oyelowo. “And there we were, with some of the Tuskegee Airmen, and the actors, in these rooms so laden with history, good and bad. And then having this untold story of these unsung heroes presented by the first African-American President.  There was just something so right about it, and everyone was acknowledging it.  It felt like a moment, the moment that the blood and DNA of Martin Luther King, of the Tuskegee Airmen, of Obama’s legacy is in that as well.  On these press tours, we all have our photographs taken and we all pose with our best sexy smile.  But yesterday, we were all just like this,” he said with a look of dazed bliss.  He said he felt like a superhero when he saw himself in the uniform, and told us how much he loved looking through the photographs of the Tuskegee Airmen because their spirit and confidence were so evident in their poses and expressions.

They all emphasized that the story is universal.  “It so far surpasses any limitation associated with the hue of any one’s skin color,” said Howard.  “Every member of the family can appreciate the contribution that these men made, and the heroics of youth. They didn’t go to school to become pilots.  They went to school to become lawyers and doctors.  But when the call to duty came, they lent themselves.  They showed excellence.  They became the greatest pilots of all time.  And now every human being on the planet can appreciate it because what one human being does shows us what all of us are capable of.  When we see that excellence, we all share in it.” He spoke of how touched George Lucas was to come out of an early screening and see two white children pretending to be the pilots they had seen in the film.

They spoke about the parallels between the challenges faced by the Tuskegee Airmen in the 1940’s and the challenges still faced by black actors today when the subject came up of George Lucas’ difficulties in getting financing for the film.  The actors were honored by the opportunity to tell the story and grateful that the heroism of the Tuskegee Airmen created an opportunity for them to do what they love to do.

“I was told by my great-great-grandfather that limitation brings about genius,” Howard said. “When you have limited resources, limited opportunity, and a limited period of time to accomplish something, that’s when the human spirit shines.  It has been a difficult struggle but it has made me a much better actor.  The Tuskegee Airmen were not initially wanted.  They were not allowed to fly so for the first year and a half or two years they had a ton of time to practice and become perfect.  By the time they were able to participate they were all seasoned pilots.  That’s what happens to the black community of actors. Because we don’t have as many opportunities to play, we play amongst ourselves and get so much stronger, with so much more spirit. None of the other films I’ve done got a screening at the White House,” Howard said.  “It was a long time coming and I am glad we were able to participate in it.  For me, there’s a scripture in Isaiah, where he says, ‘Ten Gentiles will grab the skirt of a Jew and get into the Promised Land.’ I feel like forever David’s any my legacy will be attached to the legacy of the Tuskegee Airmen.  We will always be the face and the voice for their accomplishments.”  Oyelowo said, “For me, it means a lot to be part of a large black cast where we’re the center of our own story and its being done on such an epic scale.  I hope we can blow out of the water the idea that there can only be one — who’s the next Denzel?  Who’s the next Poitier?  There’s a lot of talent out there who are worthy of being given an opportunity. Like the Red Tails, we’re not looking to just do this movie and be a footnote.  They went on to do extraordinary things.  My hope and prayer is that we get to take advantage of this opportunity we’ve been afforded.”

“It’s a great story.  All the actors were fantastic, replicating what we did,” Dr. Brown said with pride.  I teased him, “And you were all that handsome, right?”  “We were better looking!”  That’s the Tuskegee Airmen spirit!

“As an African-American who has always been on the forefront of trying to break barriers,” Dr. Brown said, “this was another barrier to break.  Hopefully everyone on America will identify with the movie, will identify with the fact that excellence overcomes prejudice, overcomes obstacles.  And if we did it 65 years ago, the young people today of all backgrounds can do it now.”

 

 

 

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Actors Behind the Scenes Directors Interview The Real Story
Interview: Tom Shadyac on the DVD Release of ‘I Am’

Interview: Tom Shadyac on the DVD Release of ‘I Am’

Posted on January 2, 2012 at 12:03 pm

I spoke to Tom Shadyac last March about shifting from big Hollywood films like “Ace Ventura: Pet Detective” and “The Nutty Professor II” to a small and very personal documentary about just about everything called “I Am.”   Shadyac was one of the most successful directors in Hollywood when bicycle accident left him in terrible pain, physical and spiritual.  He began to think about the emptiness of his form of success and he began to study two questions: what’s wrong with our world, and what can we do to make it better?  He documented his own journey, including fascinating encounters with people who are questioning some of our most fundamental assumptions about the way we interact with each other and the universe, from cutting-edge scientists to people who study history, culture, and theology.

It’s my DVD Pick of the Week and I am delighted to have a copy to give away.  Send me an email at moviemom@moviemom.com with I AM in the subject line and don’t forget your address.  I’ll pick a winner at random on January 8.

Good to talk to you again!  Tell me what the reception to the film has been since we spoke in March.

We went on a little show called “The Oprah Winfrey Show” with her audience of 20 million.  So that changed the awareness of “I Am” and we began to get a lot of requests for seeing the film because it wasn’t available in every city.  We’re finally meeting that request with the release of the DVD on January 3.  She’s such a powerful voice in media and such a supporter of the film that we decided to have the broadcast debut on her network, OWN.  We’ve continued touring the country and doing Q&A’s and trying to start the conversation wherever we could.

What are some of the questions you get asked by people who have seen the film?

Are you crazy? That’s one I get asked a lot.  No, the most common questions are things like “What do your show business friends think of this?”  As though that’s an indictment!  What do you do when people don’t see what you see?  How do you change those people?  It’s not my job to change anyone.  It’s my job to share what I know and feel passionate about.  Are you a communist?  Are you a socialist?  Those are some of the questions I get asked.  Many people take exception because they think my ideas are utopian and not grounded in reality.  But I did a film about the ultimate reality.  I call it the ultimate reality show.

Have people brought their own stories to you?

Of course!  I hear all the time from people whose lives and perspectives are changed by the film.  Some meet the film by brain injury so they tell me they were suffering from something similar or some other life challenge physically.  I hear from people who are simplifying their life or stepping more into their passion, people who are leaving money for meaning.   There are also some schools creating curriculums around “I Am.”

That’s great!  I especially like exposing students to your integrated approach of looking at issues from the molecular level up to the cosmic level.

It’s all the same.  When I began to explore different disciplines I realized that the academics, the poets, the mystics, the scientists, the spiritualists are all saying the same thing, telling the same story.  Life is life.  Life shows up everywhere, science and poetry.  The truths that undergird life transcend all boundaries.

What are you reading now?

Thomas Merton‘s philosophy was that you can read every book or you can read a handful of books and become those books.  I continue to read the people who light up my soul are writers like Daniel Ladinsky’s translation of Hafiz and Rumi — Coleman Barks’ translation, Mary Oliver, Emerson, Rilke, I just hover in those worlds.  I do dust jacket reading on a lot of things but I keep going back to those.

And what about music?

I’m not the hippest cat in the room, but I love music.  One of my favorite parts of the movie business is scoring — it’s just an opportunity to add a beautiful piece of music to the world.  I even listen to what the young folks are listening to!

What was it like for you, after directing supremely confident performers like Jim Carrey and Eddie Murphy, to step in front of the camera for the first time — as yourself?

It was really awkward at first.  My 20-year history in show business had always been talking to that person in front of the camera.  But we worked so quickly, shooting and then editing, that it was surprising how quickly I could look at that long-haired freak in the film and see him as a character.  Not “I have to protect something here,” but let’s let him be flawed, be unsure, like any character.  Like Jim Carrey or Eddie Murphy minus the brilliant comedic gifts!

Last time we spoke, you talk about the pleasures of filming with a three-person crew.  How has that experience affected you as a director?

I have yet to direct again in the 200-person-crew world but it is very freeing to know you don’t need all the bells and whistles.  You can go out with a couple of people like in film school and do something that has dramatic, comedic, emotional value.  How we make movies in show business is very inflated.  One crew member can move a plant and one can water the plant and one can light the plant.  But when you’re a student the director is doing all of that.  It’s less weighted, more improvisational.

What’s next?

We’ll see.  Let some more people into the conversation.  I’m writing a book, I have a deal with Hay House, and I am deep into that, and we continue to pursue a talk show possibility.  And I’ve got a couple of film comedies and a drama we’re getting up off their feet.  I think a sequel will happen in one form or another, maybe through the book or the talk show rather than a movie.  Of course there were people I wanted to get to talk to that we did not get to include but I don’t think they would have revealed any essentially new or additional points.  But I wanted more color, more diversity, more feminine energy. I wanted to interview Arundhati Roy, author of The God of Small Things, Maya Angelou and Mary Oliver and Vandana Shiva and the Dalai Lama.  I tried to talk to all of them but for one reason or another they were not available at the time.  They are all people who have seen something and what they see parallels very closely what you see in the film.

What do you want families who see this film to talk about afterwards?

Every family will see it from where they are.  Maybe there’s a conversation about possessions, let’s think about where these toys come from, or finding a wealth in sharing, what it means to have enough.  Maybe a conversation about including the greater good in how we do business, about how the family includes all of life.  Love is not an idea but a force.  I don’t see it as okay but essential.  We’re getting there but we haven’t gotten there yet.

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Interview: Coach Cathy Rush of ‘The Mighty Macs’

Interview: Coach Cathy Rush of ‘The Mighty Macs’

Posted on October 19, 2011 at 8:00 am

Coach Cathy Rush arrived at tiny Immaculata College at a moment when there were big changes in women’s basketball.  The rules were changed to allow women for the first time to play the all-out game by the same rules as the men.  And for the first time there was a national championship.  Coach Rush took her team to the national title for three of the first four years.  And this week, a movie based on her story is opening.  It is called “The Mighty Macs.”

I was delighted to get a chance to speak to Coach Rush about her experiences at Immaculata and what she is doing now.

You must be very excited about the movie!

The excitement is really building as we approach the premiere.  I’ve been traveling around doing pre-release screenings and we’ve had standing ovations.  We showed it in New York and they were ecstatic.

What was the rule change that was so important in the early 70’s?

This goes back to the 1930’s when my mother was playing basketball.  They didn’t think women could run up and down the court more than once or twice so there were three players on one side and three on the other and you never went full court.  You were not allowed to cross half-court. One group of three would shoot and the other side was just defense.

Because women were too frail?

Absolutely!  The Olympics didn’t have a marathon for women until the 90’s.  And then people realized women were capable of more.  In the 60’s it had morphed into a huge scoring game where it was too easy to score.  One player in Iowa was averaging 58 points a game.  It was too easy to score when you were playing three on three?

Did you have a nun as an assistant coach as happens in the movie?

That is actually not true but part of the Immaculata story could never be repeated because of the community that was there and was so important.  The Mother Superior was not really with us in the beginning so the assistant coach character was the embodiment of all the nuns who loved us and prayed for us and did extraordinary things to support us.  Even after we started winning there was some controversy about whether Immaculata should be known as a jock school.  Everyone had to wear skirts to class and the dining hall — it was a different era.

Wasn’t it a challenge that you did not have a chance to recruit talented high school players?

Whoever showed up on your college campus was who you used.  Coincidentally — we’ve often thrown around the idea of Divine Intervention — Theresa Shank Grentz was intending to go to Mount St. Mary’s.  Her family home burned down and the family basically got out with what they had on.  She didn’t have money or clothes.  So she ended up commuting to Immaculata and was one of our strongest players.  Because there were no scholarships we had nothing to offer players except the chance to be a part of the program.  I did start recruiting later on and found Mary Ann Crawford Stanley who was fabulous.  So we decided not to leave in fate’s hand and recruit some players but all we could offer them was a good education and a good program.

I think it is a testament to your vision and leadership that so many of your players became coaches — even more than that they became champions.  What inspired them to follow in your footsteps that way?

Their experience at Immaculata, certainly, but also Title IX had just come in and major universities realized they had to find coaches and provide a little equality, well, not a whole lot but a little.  So these people went right into Division 1 jobs.  Part of it was the opportunity that they had.  Teresa was a biology-chem major and I asked how that prepared her to coach and she said she should have been a Psych major.  We’ve also had a bunch of doctors and other amazing women.  They came to Immaculata for an education first.

You had some unusual drills in the movie — were those things you really did?

We did a lot of stuff.  I did bring in boys to compete against.  We had 11 kids on the team and when we went from the first five to the second five the competition was not at good, so we brought in the boys.  I was blessed to be in the Philadelphia area where there were great men’s coaches who knew the 5-member game and they were kind enough to let me see all of that and put it into our own system so I was very, very lucky.

What is important for a coach to know?

Coaching is really teaching.  We’re all teachers of some kind — parents are teachers, too.  The players who became coaches do not coach like me; they are all smart enough to coach within the framework of their personality.  I was not a screamer.  I didn’t have to yell to get across what we needed to do.  Being so young, I had kind who were two and three years younger than me but there was no question of my authority.  I was Mrs. Rush or Coach.  People need to lead by example.

The movie makes it clear how much some things have changed since the 1970’s.

I was a 60’s woman and not the Berkeley 60’s.  I was from a small town and went to a conservative college and then coached at an even more conservative college.  It was a different time.  My life plan at that time was to get married, teach for three years, and have a family and never work again.  When I say that to kids today, they do not understand it.  But in those days people had different expectations for their sons than their daughters.

What are you doing these days?

I have a girls’ basketball camp.  This is our 41st year, our biggest year ever, over 9000 kids in camp.  My youngest son runs the business and every now and then I come in and tell him what he’s doing wrong .

You’re still coaching!

That’s right!

 

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Interview: Mark Henn of ‘The Lion King’

Interview: Mark Henn of ‘The Lion King’

Posted on October 17, 2011 at 3:59 pm

I had a lot of fun talking to animator Mark Henn about “Winnie the Pooh” last summer so it was a pleasure to get to talk to him again, this time about The Lion King, which has had surprise box office success as a 3D theatrical re-release and in its first Blu-Ray edition.

Were you surprised by the support for the theatrical re-release of a 1994 movie?

Yes — seventeen years gone by and this little film that we had no idea how well it would do back then is surprising us again even today.  Still the king of the beasts, I guess, and a nice shot in the arm for hand-drawn animation, which is still viable.

I think it is less due to the 3D than because people want to go to the theater to see a movie the whole family can enjoy.

I don’t disagree.  The 3D is a hook but it is still a great movie.  I haven’t seen it in a long time and even I went, “Wow, this is a really good movie!”  And the 3D on top of it gave it a fresh twist but it’s really a great movie and there’s a whole new generation to see it, too.

You start by going there.  I was not a part of the original research trip but the directors, head of story, head of layout and head of background go on these trips.  I did one for “Mulan.”  They went to Africa and I had the opportunity several years after the film came out to go to Africa to do a promotional trip and when I showed up there, I said, “Oh, my gosh, there’s Pride Rock!  There’s where the wildebeests were!”

It all goes back to Walt Disney.  He believed everything had to be based in reality and fact and then you go from there.  We went to zoos and studied real lions.  Even though there are some liberties with color and things like that, that’s what you can do with this medium, adjust the colors and moods but it is all based in fact and reality.

What was your role on the movie? 

We’re the actors.  In a live action movie we can offer it to Tom Hanks or Brad Pitt but for animation we are usually cast on a specific character.  I was responsible for young Simba, the beginning of the movie through “Hakuna Matata,” those scenes of him growing up.  Animators, like actors, have a variety of strengths, some are better with villains or comedy but I’ve tended to do more lead characters, especially the girls.  The directors, when the sequence is ready to go into production they can sit down with us and communicate what Simba is doing and part of my job is not just the design of the character, what he looks like, but how he acts and moves.  So I act like quality control between the director and the other animators working on Simba, and make sure that what they do is what the directors want and consistent in the way he looks and acts throughout the the film.

One of the highlights of the film for me is when young Simba sings “I Just Can’t Wait to be King.”  How do you make a lion dance?

You have to know how a lion walks and moves first, and how they’re put together.  And then you can break the rules and have some fun with it.   You push it until it looks broken and then you back it up.  It wouldn’t be appropriate for him to get up on two legs — you had the rhythm and choreography but it had to be on all fours.

We have the voice and the music, particularly with songs, but the rest of the score comes in later.  We get the very specific musical beats and highlights and accents they need to hit and the lyrics — you have that to move the character to.

What does the 3D add to it?

It completes it, in a way.  The film was already very vast and epic in the way it was laid out.  We did what we could with the tools that were available in 1994 to make it that way.  If we had this technology then we would have used it.  So the technology has caught up with us to provide the final piece of the puzzle.  It is really something to see Zazu walking the lion cubs out into the middle of the Savannah.  You can feel him floating in the air with the cubs below him and it is really neat, an extra little tool that enhances the movie-going experience.

 

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Animation Behind the Scenes Interview
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