Continuing The Legacy of James Bond On The Set Of ‘No Time to Die’

London has a regal heir to it. Though it’s wholly modern, the 2000-year-old city’s architecture and cobblestone streets are a dazzling reminder of its history. They stand elegant and proud — relics of a past time, demanding that we exist without disturbing the archives of the biggest city in Western Europe. The timelessness of London also lives within one of its most beloved fictional characters— James Bond.

James Bond was brought to life by novelist Ian Fleming, who dreamed up the British secret agent on the beaches of Ocho Rios, Jamaica, back in 1953. Now, almost seventy years later, we’re still embracing the character, currently portrayed on film by the debonair and brilliant, Daniel Craig.

For the British actor’s fifth and final turn as the MI6 agent in No Time to Die, we’ll find Bond in a very different place than we’ve ever seen him before — physically and emotionally. Set some time after the capture of Ernst Stavro Blofeld in Spectre, Bond has left the MI6. He’s restlessly settled into retirement when he’s approached by the CIA’s Felix Leiter (Jeffrey Wright) to aid in the search and rescue of a missing scientist. What unfolds next is unlike anything Bond has ever encountered.

Continue reading at Blackfilm.

Ntare Mwine Talks 'The Chi,' Embracing Ronnie And Connecting With The South Side

Some television shows make your heart race -- they make you gasp for breath as you anticipate the next twist and turn. Then, there are shows that speak to your soul; they seep into your consciousness dredging up long forgotten memories. In her outstanding drama series, The Chi, Golden Globe winner Lena Waithe give the South of Chicago back to its people. Told in a cinéma vérité style, The Chi shows everyday folks scratching, surviving and most importantly, living. Layering an extensive character study with a coming-of-age tale, Waithe seamlessly connects the lives of Emmett (Jacob Lattimore), Brandon (Jason Mitchell), Kevin (Alex R. Hibbert), and Ronnie (Ntare Mwine). We watch as they confront themselves, their Black manhood, and one another after a violent event interlocks their lives forever. Over the course of the ten-episode first season, it’s Ronnie that makes the biggest transformation – leading him down a path that even Ntare Mwine didn’t see coming.

As I stepped into the infamous Blue Moon Café in Brooklyn’s Fort Greene, I spotted Mwine seated near a window with a cup of tea in his hand; the actor stood as I approached. Unlike his character, Mwine’s face was bare, Ronnie’s infamous goatee and haunted eyes were gone for the moment. Instead, a bright and warm gaze greeted me. Mwine was eager to chat about the role that has changed his life most unexpectedly. The New York University alum wasn’t apart of the original cast of The Chi, nor was Ronnie a role he thought he could tackle. "I came on board the second round in the regular audition process," he remembered. "It was a role that I'd never done before, so I didn't think I was right for the part. But the casting director, Carmen Cuba, cast me in the show, The Knick, so I went. The audition scene was Ronnie high -- smoking on the couch. I had no idea how to even play this. I couldn't see myself doing it. I literally went to the audition just to thank Carmen for casting me in The Knick, because it had opened up so many other doors. I didn't do a great audition. I walked out and went back to the car. I got a call from my agent, saying, "She thinks you're right for the role, but she doesn't want to submit the tape she made, she thinks you can do a better tape." (Carmen) asked me to do a self-tape, but I was going to Uganda for the holidays. (I) came back, and never did the self-tape because I thought, “I'd love to do it, but I'm not right. They're gonna find someone from Chicago to do it.”

Continue reading at Shadow and Act.

Lyriq Bent Talks 'Acrimony,' Storytelling And Why He'll Never Be Put In A Box

Lyriq Bent is captivating. At six-feet tall, the dashing actor exudes warmth and maturity on screen and in real life. Since stepping into the entertainment industry in the early 2000s, Bent has been gaining momentum, starring in everything from the infamous Saw franchise to the acclaimed mini-series, The Book of Negros and more recently, in Spike Lee’s Netflix joint, She’s Gotta Have It. However, Bent’s latest venture, starring opposite Taraji P. Henson in Tyler Perry’s R-rated crime thriller,Acrimony will reveal a different side of the Kingston native. Ahead of the film’s premiere, Bent and I sat down to chat about the flick, working with Perry, and why he and Henson just clicked. Though he’s been in the industry for some time, Bent hadn’t had the opportunity to work with Perry until now. "(Acrimony) was so different than what (Tyler Perry’s) normally done," he explained. "The opportunity to help him create a beautiful story in a different genre was important to me because I can see we have to tell our own stories, and Tyler's done more than his part in trying to do so. Now that he has so many films under his belt, he felt it necessary to change genres, so I felt very lucky that he thought that I was capable or that he had the confidence in me to make that crossover."

For Bent, Acrimony is much more than a tale of an embittered, unhinged woman out for revenge. The foundation of the film was grounded in a young romance between Bent and Henson's characters Robert and Melinda which blossomed over time. "I liked the fact that it's a story about human nature," he revealed. "It's about emotions. It's about two people who love each other and try to build a life together, and they go through an emotional rollercoaster. They try to bring it all back home at the end of the day."

'Star' Showrunner Karin Gist On Being The Boss, Telling Black Women's Stories & The Explosive Midseason Premiere

Karin Gist is shinning. The Star showrunner and executive producer is elevating television as one of the few Black female showrunners in the industry, and she’s taken on her role in stride. Still, Gist’s journey in TV which led her to the sets of Girlfriends, One Tree Hill, Grey’s Anatomy, and Revenge among others didn’t start off as seamlessly as one would assume. Ahead of the mid-series premiere of Star and during Women’s History Month, Shadow and Act sat down to chat with Gist about her career, why showrunning speaks to her soul, and how it feels to be one of the only Black women calling the shots in television. Gist’s path to storytelling was unconventional to say the least. "I moved out to LA to practice law for about two and a half years, and honestly I was spending most of my day daydreaming in my law office just knowing that it wasn't the right choice in life for me," she explained. "I had this feeling that there was a now or never. Why not take a risk and try to do something that I thought I'd love? Ultimately, I ended up loving it. I love writing for television and telling stories. I tried to find a path to that even in practicing law. I moved from corporate law to family law at one point, and that was more interesting because of course, it's stories about people and emotions. It was interesting, but still, I was yearning to do something more creative and luckily I found my path on Girlfriends — my first show."

Throughout her career, Gist has focused on female-centric stories. For the Spelman alum, it’s been a blessing to put women at the center. "I’ve always said how lucky I was to fall into my dream job on my dream show, Girlfriends," she revealed. "I was able to learn the craft and practice the craft but tell stories that reflected my life at the time and my friends at the time. That is such a rare thing, especially in this business, especially as a Black woman. So, that was a happy coincidence. I am drawn to telling stories about women, about women of color. That has become my drive in storytelling. I just so happened to get my first job on a show like that.”

Continue reading at Shadow and Act.

Interview: The Cast & Crew Of Underground Talk Tumultuous, Heart Racing Second Season

 

“We make ourselves free by the choices we make.” The inaugural season of WGN America’s stunning series “Underground” followed the Macon 7 as they made their harrowing escape from the shackles that bound them to the Macon Plantation in Georgia, to the free states in the North. A captivating series that has shined a bright light on the Underground Railroad, the horrific and morally corrupt antebellum South, and the abolitionist movement, the second season of “Underground” is out to prove that season one wasn’t even the tip of the iceberg. With higher stakes, heart-shattering storylines and the emergence of real-life historical figures, season two fleshes out the movement in a whole new way.

In late January, I traveled to Los Angeles, California to screen the first episode of the new season of “Underground” and to chat with the cast and crew ahead of the season premiere. I sat down and spoke with the series’ creators and writers, Misha Green and Joe Pokaski, director Anthony Hemingway, and cast members Jurnee Smollett-Bell (Rosalee), Aldis Hodge (Noah), Jessica De Gouw (Elizabeth), Alano Miller (Cato), and Amirah Vann (Ernestine). Season two newcomers, Jasika Nicole (Georgia) and Aisha Hinds (Harriet Tubman) were also present to discuss America in 1858, the high stakes of the series, and the challenges they faced as actors delving into this tumultuous period.

Aramide Tinubu: Jurnee, what was it like to step back in Rosalee’s shoes after seeing her go through so much in the first season of the series? Did it affect you differently because you were pregnant while filming?

Jurnee Smollett-Bell: It was definitely unlike anything I’ve ever done before. Physically, “Underground” is already the most physically challenging role I’ve ever done in my life. But, then to be seven months pregnant doing it. (Laughing) Luckily I had a great support team. But, I love Rosalee so much, and I think she’s just changed so drastically. She’s grown up; she’s a woman now. Not only is she a woman, but she is a warrior and a soldier when we see her in season two. I think she always instinctively had that, but now out of desperation she had no choice but for it to come out. She’s lost everyone that she loves, Noah, her mother, her brothers, the Macon 7. Even though she’s attained her own freedom, she realizes that it’s not so free. How can she really live in the North when everyone else is in bondage? So, when she meets up with Harriet; Harriet trains her to be a solider, and that’s what she’s become; gun-slinging Rosalee.

AT: Aldis, what always gets me about Noah is the fact that he is constantly fighting for freedom, he never stops. He’s always got a plan; he’s always got something up his sleeve. How do you get into the mindset to play someone who is always searching for more, who is always trying to figure his way out of a situation?

Aldis Hodge: I’m always searching for more in my real life. (Laughing) Coming up where I came from and especially being in this business for such a long time, it’s always a fight going on. You have to readjust your strategy as the times change or as you change personally. So, going into this, I really just try to play into the fact that Noah’s fight comes from his idea of himself. He understands his value. I carry this character knowing that he walks as if he is free. Mentally he knows he is free; he knows his value, he knows who he is as a man. He just has to convince everyone else around him. But, knowing your worth set in a situation where all they do is take it and try to strip that from you, you’re going to be a little bit aggressive. You’re going to be agitated and a little bit feral, but at the same time, he has to be strategic with how he goes about it. I just carry him knowing that he is free and he understands exactly who and what he is, given the time frame.

AT: Was there a specific moment that really shocked you during this season? I know there are always twists and turns, but was there anything that really stunned you to your core and shifted the way you understand your character?

JSB: Oh boy, yeah.

AH: (Laughing) There are some moments we can’t talk about just yet. But the answer is YES, and you’ll see it later on in the season.

JSB: I know that as Rosalee, I end up doing a lot of questionable things. Just like Ernestine knows how to work the system, we see that Rosalee knows how to as well. But sometimes in doing that you hurt the people closest to you. Even though your intentions are very pure. In your mind, you’re justifying yourself because you love them. So there are a lot of risks, a lot of secrets and a lot of questionable actions. In the first episode, one thing that did actually emotionally shock me to my core was the scene with John, when Rosalee is yelling at him about Noah. John has this naïveté that somehow the justice system is going to be just for a man that looks like Noah. As I was saying these words, I realized, “Oh my gosh! I could be saying this right now! How many of my brothers and how many of my sisters could I be saying this about?” That was just something where it was like, “Man. Yes, we come far, but we’ve got so far to go!”

AT: Let’s talk about the women of “Underground.” For Amirah what shocked me the most about Ernestine’s storyline in the first episode of this season was seeing how violence gets permeated back down into the Black community. It’s the violence against Black people in general and then with your character specifically, Black men towards Black women. How did you feel during that scene?

Amirah Vann: One of my favorite scenes is actually between Robert C. Riley who plays Hicks and myself later on in the season when Ernestine actually brings that up. So Misha and Joe brilliantly address those issues of how race in America in a grand scheme is affecting the daily lives of everyday individuals. It’s always so interesting to say, “I know, I get what you’re trying to say. I don’t know if I can digest it and apply it to my everyday life.” But, the idea that the writers are aware of how that permeates everyday life, I think it’s just brilliant writing.

Continue reading at Shadow and Act.

Image: WGN America

Interview: Shemar Moore Talks Taking The Reigns As Producer For His Newest Film 'The Bounce Back'

After saying goodbye to “Criminal Minds” earlier this year, actor Shemar Moore is stepping into a new role, funding and producing his first feature film, “The Bounce Back.” Moore stars alongside Nadine Velazquez and Bill Bellamy in this warm, romantic comedy about love, intimacy, and second chances. Moore recently chatted with me about his new role as a producer, what inspired him to step behind the scene, the current state of independent filmmaking and what’s next for him.

Aramide Tinubu: Hi Shemar how are you?

Shemar Moore: Hi sweetheart, thanks for taking the time.

AT: For sure, I loved “The Bounce Back,” I thought it was really warm, it felt like a romance novel to me.

SM: You had me at “I love it.” It’s so nice to hear that it’s being well received. It’s a good time. I always say that it’s a fun-filled good movie.

AT: It is! It definitely felt like you could cozy up and watch it either by yourself or with your loved one. It was a special treat. What was it about this film that inspired you to put your money where your mouth is and get on board as an executive producer?

SM: Well, I knew about the script about ten years ago.

AT: Oh wow, so it’s been a long-time coming.

SM: Yes, but, the timing of where I was ten years ago, I was still getting my feet wet and getting my standing with getting “Criminal Minds” off the ground. I did “Criminal Minds” since day one so ten years ago wasn’t the right time. But then, life went on, and I knew a few years ago that a transition was coming and I was going to want to take the next step in my career. So, I just began looking for projects out there that I could be a part of. I’d never produced before, but I thought to myself that it seemed like just attention to detail, and I felt like I could have a knack for it. It’s just understanding content, understanding stories, knowing how to put people and pieces together, and how to tell a story. To be honest, before the executive producer hat got put on, I actually ran the script around town seeing which studios and distribution companies were interested.

AT: Really, what was that like?

SM: I would either get no response, or I would get a lukewarm response where they would like the idea, but they wanted to find the “right time” to make the movie. So it just seemed to be this slow, stalled process, so I just kind of sat with myself and I talked to some people that I trust, and I was like, “OK, what other avenues can I consider?” That’s when the Kickstarter and the Indiegogo thing came up. It was just my way of putting feelers out there to see if there was any demand or interest in it. My loyal fan base, I love them to death, I call them my homies and baby girls, they really stepped up to the plate and through Kickstarter and Indiegogo in just over a month we raised $630,000.

Continue reading at Shadow and Act. 

Image: The Bounce Back/Viva Films

Interview: Soul Singer Sharon Jones Talks Fighting Cancer, ‘Miss Sharon Jones!’ & Letting the Music Speak for Itself

For twenty years, soul singer Sharon Jones has cultivated a world-wide audience with her sensational albums, performances and stunning voice. Sharon Jones & The Dap-Kings have been heard in everything from FitBit commercials, to Martin Scorsese’s “The Wolf Of Wall Street” soundtrack. Though her career took off later in life, it’s clear that Ms. Jones has always belonged onstage. At the height of her career in 2013, Ms. Jones was soaring, until a devastating cancer diagnosis forced her to pause. During one of the toughest years of her life, Academy Award winning filmmaker Barbara Kopple followed Ms. Jones and The Dap-Kings in the stunning and captivating “Miss Sharon Jones!”.

Recently, I got the opportunity to chat with Ms. Jones about the documentary, her remarkable career, and her ongoing battle with cancer. Dedicated to the Dap Kings and to her sound, it was clear to me right away, that Sharon Jones wasn’t going to miss a beat.

Aramide Tinubu: Hi Ms. Jones how are you doing?

Sharon Jones: I’m doing alright thanks.

AT: Wonderful, well I just screened “Miss Sharon Jones!” and I’m so excited to chat with you about the film, your career and how things are going for you.

SJ: OK that sounds good.

AT: What was your first memory of singing?

SJ: When I was a child in church, I did a Christmas play where I got to play an angel and I sang “Silent Night”, so that was my first memory of singing.

AT: Wonderful. Well I know that James Brown has been such a huge inspiration for you, and you got the opportunity to meet him back in 2006 before he passed away. I know your mother actually knew him because they were both from Augusta, Georgia. How do you feel about being called the “The female James Brown”?

SJ: Well, that is such an honor to even get that thrown at me. I didn’t even realize it. He represented so much, coming from Augusta especially. In Augusta his name means so much. You can’t bring up Augusta without bringing up James Brown. They’ve also taken to me like that. In the museum, they have a little exhibit of me. I’ve also met with his daughter Deanna Brown and the James Brown Academy of Music pupils. It’s a school where the children are taught how to read music and play instruments. For me to be called the female James Brown, and to see how these kids look up to me, it’s just been so good.

AT: That’s incredible. In “Miss Sharon Jones!” you said that everything in your life has just taken a little longer. I know that your singing career didn’t really launch until you were in your early forties, but what has this journey been like for you? Did you ever think you were going to be Grammy nominated or begin a record label? Did you ever think you would be where you are today?

SJ: Well, maybe at one point back in the day I didn’t think I would, but once we started going at at this and I went to Gabe [Roth] and said, “Gabe you guys have to get serious about this. This is the last job I’m going to do; this record label.” I told him I wanted this to be a real label and focus on that. We got the building and I started painting and helping with that, so we knew then. The first three years we struggled. People think that we got together when our first album was out in 2000, but, [The Dap-Kings and I] got together around ’95 or ’96. It’s been twenty years now since I’ve known Gabe and some of The Dap-Kings

AT: Wow, it has truly been a journey then.

SJ: So over the last twenty years we’ve built ourselves to where we are now. It didn’t happen overnight. We put a lot of work and energy into it. To get that far, and then to be stopped in your tracks with the cancer; it was a blow. It still is a struggle right now, it’s a very big struggle right now for me.

AT: I’m sure, but you’ve been so courageous.

SJ: I’ve got to keep going. I’m not ready to give up yet.

Continue reading at Shadow and Act.

I had the absolute most amazing experience yesterday moderating a "Meet The Filmmaker" Apple Talk with Sharon Jones of Sharon Jones & The Dap Kings and Academy Award winning filmmaker Barbara Kopple. I can't wait for you all to hear it! 🎧🎬🎹🎤 (More info in the bio👸🏿) . . . Uplifting, inspiring, and energizing. @TheSharonMovie opens in theaters on 7/29 in NYC & nationwide in August. gwi.io/MissSharonJones #MissSharonJones #chocolategirlmoderates

A photo posted by Chocolate Girl In The City (@midnightrami) on Jul 27, 2016 at 10:35am PDT

Interview: The Cast of TV One’s ‘Bad Dad Rehab’ Talk Fatherhood, Finding Their Characters & Social Responsibility

My father was not perfect. A Nigerian immigrant born in the late ‘40s, he had his work cut out for him raising two little girls on the South Side of Chicago during the ‘90s. Naturally we butted heads quite often. Some days our arguments stemmed from our cultural differences, other days it was simply normal tensions that brew between daughters and their fathers. Despite all this, there are memories that I have of him that will remain with me until the day I take my last breath. From school science projects and “Harry Potter”, to my love and obsession for films, my father was pivotal in molding me into the woman that I am now. When I laid him to rest on a bitterly cold day the year I turned twenty-three, I knew that despite everything, he’d done the best that he could. Unfortunately, there are millions of people, especially in the Black community that cannot say the same about their fathers.

TV One’s original film “Bad Dad Rehab” follows four fathers whose parenting skills leave a lot to be desired. On their journey to do better, the men find themselves enrolled in a focus group that supports men as they strive to become better fathers and overall human beings.  Ahead of its July 3rd premiere, I had the opportunity to chat with film star and producer Malik Yoba. I also spoke with the majority of the gentlemen in the cast, Robert Ri’chard, Rob Riley and Rick Gonzalez. Wesley Jonathan also stars in the film. We chatted about finding their way into their characters, the pain of broken families, and the fear of fathering.

Aramide Tinubu: Hello gentleman, it’s fantastic to be chatting with you all today about your upcoming film with TV One, “Bad Dad Rehab”. Mr. Yoba, I know you were really inspired to be a part of this film because you started a foundation when your daughter was born to make sure that fathers knew their rights. What inspired you to create that foundation to give fathers, and specifically fathers of color a voice?

Malik Yoba: I think a lot of it just comes from my own relationship with my father. My father was very present, very domineering; he was a very strict presence so he always pointed out how lot of my friends didn’t have their fathers around. He was a determined cat, so I come to it naturally in terms of wanting to help people and that sort of thing. Becoming a father myself and realizing the lack of resources inspired me. I knew that it was a problem and I’m a self-starter and entrepreneur, so I always looked at opportunities in both the non-profit and for profit space to create products and services for men. Reading this film, it was so close to a piece that I’d written. Literally, Rick [Gonzalez]’s character in my film was this Latino guy who has a kid against his wishes and he’s a barber.

AT: Oh wow, that’s exactly who Rick’s character Pierre is.

MY: Yeah, it was that close, it was just one of those things. I was grateful that I woke up to a text message from my manager saying you have an offer to star in this film. It was just one of those things that you know you have to do, and I’m just glad that everyone else felt the same way. It’s been such a good thing, not just producing the film, but also working with TV One to market the film as well. It’s been very important to me to be involved in how the message is conveyed to the consumer. It just made sense all the way around.

AT: Wonderful! Mr. Gonzalez, I’d love to chat more about your character Pierre. Where did you draw your inspiration to play him from, and where do you think his fear of becoming a father comes from?

Rick Gonzalez: My daughter is about to turn three-years-old and for me, the experience of being a dad is very spiritual and arriving at this character was very spiritual. I really wanted to understand why Pierre would turn his back on the responsibility of raising his child. I had to understand how that made me feel personally, and then I had to do the homework on understanding why Pierre would do that. I really had to put my feet in his shoes in order to feel that, and to see where that would lead me. Pierre’s emotional scenes were shot in the final two days of filming so that helped as well, because I was able to go on this journey with him the entire time until I arrived at the climax.

AT: That must have been extremely emotional for you.

RG: Yes, each father in this film had to recognize their truth. I think recognizing their truth and owning it is where their healing began. So that’s how I got into what Pierre was thinking. At the premiere at American Black Film Festival, we all talked about why we cared about these characters, and I said that this was ordained for me. For me to be a dad now, and to take on Pierre I think it was the perfect thing. Each character in this film recognizes the mechanisms that are inside of them that makes them turn away from enjoying the act of being a dad. We really felt that our writer Kiki [2015 TV One Screenplay Competition winner Keronda “Kiki” McKnight] had a good hold on the commentary and the truth of what these dads were going through. I think that this film really spoke to all of us.

AT: Fantastic! Mr. Ri’chard I know that you play Tristan, can you talk about who he is?

Robert Ri’chard: Yes, I play Tristan. He’s the classic deadbeat dad. He has five kids, four baby mamas, three cell phones, and two hundred sneakers. The film sort of opens on Tristan and you can see that in society how a lot of men glorify self-preservation and selfishness. Over time with Tristan, we discover where that comes from. That’s the beauty about “Bad Dad Rehab.” So many guys have the nicest car or the best sneakers or the most fly haircut, but you don’t see them being responsible with their seed. We get to examine that. It’s like, how are you glorifying yourself and not taking care of the most precious thing in your life?

Continue reading at Shadow and Act.

Image: Bad Dad Rehab/TV One

Interview: Olympic Gold Medalist Claressa Shields Talks ‘T-Rex’ Documentary, Fighting for Her Dreams & Her Hometown of Flint, MI

Every few days, I bargain with myself in an effort to get to the gym for some much needed exercise. As I pull on my gym shoes, I marinate over how I will reward myself for pushing through a three-mile run, or an Insanity class. I sweat solely for my health; I am no athlete. Still, my attitude towards fitness has vastly improved in the last decade. When I was seventeen, breaking a sweat ranked somewhere around leaving my relaxer in too long, or getting my cell phone taken away. It was literally one of the last things I wanted to do.

Unlike me, twenty-one-year-old Claressa “T-Rex” Shields lives to sweat. The World Champion Boxer took home the Gold Medal for the United States in the 2012 Olympic Games, the first year Women’s Boxing was considered for competition. As Shields gears up to head to the 2016 Olympic Games, her story (documented beautifully in the coming-of-age tale “T-Rex”) is headed to the big screen. The poignant and compelling documentary follows Shields, who hails from Flint, Michigan, as she quite literally fights her way to her dream. From family fallouts, to the coach that never thought he’d find a champion in a girl, Claressa Shields’ story is one for any athlete, and certainly for any Black woman.

I got the opportunity to chat with Claressa Shields about life since her historic win. We spoke about how she was continuously overlooked in the media back in 2012, the Flint Water Crisis, and what she wants people to learn from “T-Rex”. Aramide Tinubu: Hi Claressa! I first wanted to just say congratulations on your historic win, and congratulations on making the Olympic team again. Those are some tremendous accomplishments. You’ve accomplished so much not just for boxers but for women and especially Black women.

Claressa Shields: Thank you so much

AT: The first thing I wanted to chat with you about is what has changed for you since winning your gold medal back in 2012. Obviously you were 17-years-old then, just about to enter into your senior year of high school and now your 21. Has your life changed drastically?

CS: My life has definitely changed for the better. Probably for about a year and a half, I was at a standstill. I went to college for a little bit, but it was just too much time that I was taking away from my boxing career, so I had to stop going so I could just focus on boxing. After I turned 19, I started making a lot of decisions for myself. I was training, fighting in the top tournaments, and I have continued to win. Maybe about a year and a half ago, I moved to Colorado Springs. I’ve been down there training and in 2015 I won the World Championship. I also won the 2016 World Championship a few weeks ago.

AT: Oh that’s wonderful!

Continue reading at Shadow and Act.

Image: Claressa Shields

Interview: Miki Howard, Teyonah Parris and Director Christine Swanson Talk TV One’s ‘Love Under New Management’

There are some songs that when played, take us back to a specific time or place.  Miki Howard’s “Come Share My Love” reminds me of my childhood; riding in the car with my mother while Miki’s stunning voice smoothly glided out of the radio. For years, I never knew much about the songstress herself. However, when TV One’s “Unsung“ episode surrounding Miki Howard aired in 2010, I along with the rest of the world, was enraptured not just by her stunning music and success, but also by her turbulent personal life.

As a result of the overwhelmingly positive reception surrounding Ms. Howard’s story, and in celebration of Black Music Month, TV One is debuting their first ever Unsung-inspired biopic, “Love Under New Management: The Miki Howard Story”. Directed by Christine Swanson, and with Teyonah Parris starring as Miki Howard, the film is set to premiere on TV One, Sunday, June 12 at 7pm ET.

Along with Parris, the star-studded cast includes, Vanessa Bell Calloway, Gary Dourdan, LisaRaye McCoy and Darius McCrary as the late Gerald Levert.  Leading up to the film’s premiere, I got the opportunity to chat first with director, Christine Swanson and then with Teyonah Parris and Ms. Miki Howard about the film, creating a special bond, surviving and the music that runs throughout the story.

Aramide Tinubu: Ms. Swanson, I’ve admired you since your feature film debut, “All About You”. You’ve done amazing projects in the past with TV One, but “Love Under New Management: The Miki Howard Story” is different because it is biographical. What was that experience like for you, and how did you come aboard the film as director?

Christine Swanson: I was hired by the network to direct the movie. This kind of biopic based on someone’s life who is living is obviously a little intimidating. Then when I actually met Miki Howard, that was a little intimidating.  She’s just this music icon in my opinion, because when I was growing up, Miki Howard was the soundtrack to my youth.  Just interfacing with that pivotal person from your youth, added to the fact that I had to tell her story, was kind of nerve wrecking on a number of different levels.  Mostly, I just wanted to honor her legacy properly in a way that was pleasing to her.

AT: Oh certainly.

CS: Then of course, when you’re doing a movie for a network you have to please the network. However, you also have to have a specific directorial vision. Just balancing all of that was a very fun challenge. It was difficult, but it was really a delight for me, because I’m a director and I love story telling. To tell Miki’s story the way we did… the movie doesn’t do justice to her life. We come close to showing what a breath of fresh air she is. However, there was a lot more of her story that I wish I could have told, like in a miniseries or something.  But, I think we packed a whole lot in a short amount of time.

AT: Oh yes, you really did. You got those thirty years that were essential to understanding Miki personally, while getting a grasp on the trajectory of her career. You just discussed navigating your way through your particular vision, what TV One wanted and what Miki wanted. How did you decide what parts of Miki’s life were most important to show and which parts to leave out?

CS: Let’s just say that the story wrote itself in terms of everything that’s in there. It’s all from Miki Howard. Her initial story was based on a self-published unreleased autobiography. It was used as source material for the script. When I received the script, I was kind of perplexed about how to approach it, but I knew that I had to talk to Miki. So initially when I met Miki Howard right out of the bat, we spent over fifty-hours just talking on the telephone.  In talking with her, it was as if someone stuck a syringe needle in my vain. It was as if someone had shocked me with a potent dose of Miki Howard. That became the inspiration that I used to infuse her story. I just felt like I was a conduit for her story. I balanced all of it by knowing that I wanted to hear Miki’s voice. I was always like “Who are you? Tell me about yourself. You did this, what did you think about this? How did that turn out? How did you get here?” Just getting all of that from Miki was really the main motivation and the main driving force behind the story. It’s all Miki. If you talk to Miki she would say that she loves this movie because every bit of it comes from her.

AT: That’s wonderful, it’s such a privilege, to be able to tell your own story.

CS: I know, and that was my only goal. I was like if Miki ain’t happy then I failed. And you know, the network was very supportive in telling a really good biopic because this is their first, and they wanted to make sure it wouldn’t be their last. They said to me, “Whatever you need, just make a good movie.” Because of that, they gave me they best actress on the planet right now.

AT: Yes, Teyonah is amazing!

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Image: TV One

Interview: Chatting w/ Tyrese Gibson About His New Film 'Shame' & Taking on Darker Roles

Shame is a powerful emotion, it aids in secrets, lies and deception. The constant need to cover up humiliation can be overwhelming, causing you to sabotage other aspects of your life. The problem is that secrets can only remain hidden for so long. Tyrese Gibson’s new short film “Shame”; which was produced by Academy Award winner Denzel Washington, embodies all of these emotions. Set in Detroit, Michigan in 1968, Gibson plays Lionel Jacobs, a nightclub singer whose world is rapidly unraveling due to his rampant drug and alcohol abuse. Though he’s married to one of his background singer, Bobbi Ann (Jennifer Hudson), Lionel’s demons and indiscretions are beginning to catch up with him. “Shame” is a quiet film; it allows the audience to indulge in Lionel’s depressing late 1960’s world until it explodes; along with the life that Lionel has built for himself.  It’s a film about moments, reflections and unforeseen consequences.  More than that, “Shame” forces its audience to confront the sins we often try to keep hidden.

Though Gibson first appeared on the big screen in John Singleton’s 2001 film, “Baby Boy”, his most recent projects have been action films like the “Fast and Furious” and “Transformers” franchises, his character Lionel shows a much grittier side of the 36-year old actor. Gibson recently premiered “Shame” overseas at the Aruba International Film Festival.  Here is what he told Shadow and Act.

On the Inspiration Behind the Film:

Well the movie is directly inspired by my song “Shame”, from my most recent solo album, “Black Rose.” I’ve been living with this song and I was in a relationship for five years and when the relationship ended, I was devastated. So, I went in the studio and the first song that I recorded was “Shame.” After living with the song for a long time, all of these characters popped up in my head. Everything that you just saw was in my head, because I played it over and over and over. So, I got the director in place, and I asked Jennifer Hudson who was featured on the song if she would do the movie with me, and that’s when we also landed Denzel Washington. It was really just a labor of love. I tell people all the time, especially my supporters and fans, all of us have great ideas, and all of us are very creative. If you allow ideas to pop up in your head, and then you allow them to go away; or when you talk to people about it and then they laugh at you, you’re stopping yourself from impacting the world. This was in my head and I was obedient. I made it happen and I followed through.

On Lionel’s Faith, Humanity and Demons:

You know it’s interesting; almost all of us have things that we struggle with.  I don’t drink or smoke or anything like that, but I also don’t judge people who do. My mother was an alcoholic for 27 years, so I grew up with drugs and alcohol, and a lot of family in and out of jail. I grew up in the ghetto in South Central, LA so a lot of what you see are images that I was exposed to growing up. I didn’t want this character to be so far away that people can’t relate to him. I wanted Lionel to be relatable. I also wanted people to be able to say, I may have a drinking problem, I may use drugs here and there, but I need to leave it alone because I might end up looking like [Lionel].  It’s that good and that evil that most of us struggle with. That’s why I don’t judge anyone, because good and bad have various levels.  Lionel became very popular in Detroit singing at the nightclub, and his popularity made him powerful.  But then, he became abusive with his power. So, the thing is, we all have power but a lot of people become abusive with their power and that’s who Lionel was. He thought that it was OK to be married to Jennifer Hudson’s character, and to be having an affair with another background singer. He thought it was acceptable. If anyone tried to get in the way of that, he would shoot, stab and kill and then run to Jesus afterward.

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Images: Tyrese Gibson's "Shame"

Interview: Chatting w/ Morris Chestnut About Heading to TV to Star in Fox's New Series, 'Rosewood'

The debonair Morris Chestnut first captivated audiences with his portrayal of Ricky in John Singleton’s classic film, “Boyz n the Hood”. Since then, Chestnut has been a leading man in numerous films, including the recent thriller “A Perfect Guy” alongside Sanaa Lathan and Michael Ealy. Though the 46-year old actor’s most notable roles have been in films, he also has also appeared in major television series including “Nurse Jackie” and “American Horror Story”. Fox’s new medical dramedy “Rosewood” will show a very different side of the generally more serious actor. Chestnut will star as Dr. Beaumont Rosewood Jr., a private pathologist with a penchant for finding clues about the dead and who might be hiding some very serious secrets of his own.

Chestnut recently sat down to talk about his new show at a screening of the pilot episode. Here is what he told Shadow and Act.

On Becoming Dr. Beaumont Rosewood Jr.:

It was tough. I pretty much prepared on a case-by-case basis depending on what they had me do. We have technical advisors and doctors on the set to advise me on the best way to do procedures, and give me information on certain aspects of doing autopsies. My character is definitely flawed from a heath standpoint. He has certain things that he can’t do because of his heath issues, and that’s one thing that I love about the character because nobody’s perfect. He’s not a superhero. He tries to do right by people, he tries to do right in life, and he tries to do by women.

On Working With Lorraine Toussaint:

She’s a great actress. She came to the show a little bit late, but she’s definitely a welcome addition. She’s incredible. I love doing scenes with her because she’s so emotional and it adds so much depth to the show.

On Rosewood’s Closeness to Death:

That’s one of the aspects of the character that I love. He treats each day like it’s his last day.  He knows his days are numbered, but he tries to instill optimism in everyone he touches and everyone he comes across on a daily basis. He enjoys life, and he wants others to enjoy life and have fun. You have to savor every moment and don’t take things for granted.

On Character Development:

Watching the character grow I think, is the fun part about a television show. All of the characters are going to grow and develop. That’s why I like to hear what people have to say about the show, because it’s not like a movie. Once we do a movie and it’s done, it’s out there and nothing is going to change. With this, if it’s something that you guys liked, or something you didn’t like that you want to see then let me know. Our writers are very receptive and you guys are our audience and we make this type of entertainment for you. That’s why I’m always open to hearing what you have to say.

On the Recent Change in Hollywood for Black Actors:

I think it’s great. With “Empire” doing as well as it’s doing, it’s open up the doors for us to have other types of entertainment out there, and different types of shows. Hollywood listens to people. People always ask me if Hollywood is Black or white. It’s really green. If people are watching, they’re going to provide you guys with more entertainment. You guys have much more of a voice then you make think, so if you don’t watch then Hollywood will stop making and producing these types of shows.

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