The last one with two top-grossing weekends was "The Help."
"Sometimes you read a script and you just don't know what it's going to be."
If you're an author with aspirations of seeing your work adapted for film or TV, people love to look at you like you're a sad puppy. "Oh, but movies are never as good as the book," they say. But is that really true? Happily, no.
If you hear that there's a biopic coming out about an influential African-American icon, the six words you don't want to hear connected to it are "From the director of The Help".
I had the opportunity to talk to Davis about how she juggles motherhood, the new demands of fame, overcoming ageism and hair-ism in Hollywood and how her life has changed dramatically since The Help.
Golden Globe, Critics' Choice Wins for 12 Years a Slave Suggest New Freedom for Authentic Black Storytelling
The validation of 12 Years a Slave could (maybe, possibly, hopefully) set the stage for more offerings of serious black subject matter in film. Honest stories that challenge us to face difficult (even disturbing) social and legal issues head on. Confrontational narratives. Narratives that complicate our social awareness.
"I want to find a man who will be in love with me and take care of me, and I will love him and take care of him. I want to find love so badly. They say if you don't look, then it will come, but I desperately want to find a relationship that works for me."
In all the talk about self-publishing, one thing you don't often hear discussed is the role of editors. I'm not talking about the editor an author might hire to vet their work prior to publishing it themselves; I'm talking about editors at major publishing houses.
From film scoring to production, direction and acting, African Americans have touched many facets of the film genre. As we
It's as simple as this: If you've got a play called The Heiress, it's absolutely obligatory that whoever assumes the eponymous role is utterly persuasive. Unfortunately, that's not the case at the Walter Kerr.