Terrence Howard
The “Dead Man Down” Interview
with Kam Williams

In 2006, Terrence Howard received an Academy Award nomination for his lead role in John Singleton's "Hustle & Flow," and the song which he performed in the film became the first rap song ever to receive an Academy Award. That same year, he was also a member of the all-star cast (along with Sandra Bullock, Don Cheadle, Thandie Newton and Matt Dillon) of Crash, the Oscar-winning Best Picture.

Maintaining a powerful presence on the small screen as well, Terrence won one of his three NAACP Image Awards in 2006 for the HBO film "Lackawanna Blues," directed by George C. Wolfe, which was based on Tony Award-winning Ruben Santiago-Hudson's autobiographical play. His love of acting came naturally through summers spent with his late grandmother, the celebrated, stage actress Minnie Gentry.

Terrence began his showbiz career on "The Cosby Show" after being discovered on a New York City street by a casting director. That chance encounter helped him break into feature films, and soon he was cast in "Mr. Holland's Opus."

Among Terrence’s most memorable work are scene-stealing performances as Cowboy in "Dead Presidents" and as Quentin in "The Best Man," the latter earning him an NAACP Image Award. His other film credits include "Pride," "Angel Eyes," "Hart’s War," "Four Brothers," "Idlewild," "Get Rich or Die Tryin'," "Fighting," "Iron Man," "The Brave One," "The Hunting Party," "August Rush," "Awake" and "Red Tails."

In 2008, he made his Broadway debut in a revival of "Cat on a Hot Tin Roof," co-starring Phylicia Rashad and James Earl Jones. A self-taught musician on both the piano and the guitar, Terrence’s musical talents were in display on the big screen opposite Jamie Foxx in "Ray." Also in 2008, Howard released his debut album on Columbia Records, “Shine through It," which he wrote, produced and performed on.

Here, he talks about his latest film, Dead Man Down, where he plays crime boss Alphonse Hoyt opposite Colin Farrell, Noomi Rapace and F. Murray Abraham.

Kam Williams: Hi Terrence, thanks for the time. It’s nice to have another opportunity to speak with you.

Terrence Howard: Thank you, Kam, for taking the time.

KW: What interested you in Dead Man Down?

TH: Being able to work with Niels [director Niels Arden Oplev], given the work he’s done. Some of those Swedish films [such as The Girl with the Dragon Tattoo] were breathtaking. And he has an interesting style that mixes traditions of old with the allure of mystery. And I’m impressed with his Shakespearean approach to storytelling. It’s always about these relationships which become unwound. I was also interested in working with Colin [Farrell] again. We made Hart’s War together back in 2002, and I’ve always appreciated his artistry. So, I jumped at the chance to continue our friendship. 

KW: The cast has a lot of other big names, too: F. Murray Abraham… Noomi Rapace… Isabelle Huppert…

TH: And everyone in there came to play. Everyone!

KW: Marianne Ilaw asks: Is a movie with an intricate plot like this one difficult to shoot?

TH: To me, we’re all one, and everything is basically about trying to get back to a balanced state. We have our in-harmonics, our harmonic, and our beginning. Everybody’s trying to get back to that, and with this work, even as a director or as actors, we’re all trying to get back in harmony. But to expand, you have to become in-harmonic for a moment. So, the story’s about the battle to get back there, and that’s how it works out. Alphonse [Terrence’s character] could’ve been a simple bad guy who goes around killing people. But when you add a conscious element, and an element of reciprocity, a karmic recompense that he’s aware of, that simple ideal mushrooms to the point where it becomes palpable for everyone by association. The audience can now see his humanity because they’ve been in a compromised position. That’s the point of the film, to help someone learn. Take Colin’s character who was left for dead and whose family was murdered. Yet, here he has an opportunity for brand new love and to continue on and to just appreciate the fact that he’s still alive. But he’s willing to risk all of that to payback the debt, which nobody really knows the value of. When you take another person’s life, whether you survive or not, you only lose your own humanity in the process. That was one of the mistakes Alphonse made early on, which caused him all of these problems down the line. So, I love how Niels was able to lay out these complicated plotlines. And Noomi’s character is also on a vendetta and harbors a grudge that she won’t let go of. The film really questions the morality and ethical stances of all the characters.

KW: Attorney Bernadette Beekman asks: How did you prepare to play Alphonse Hoyt?

TH: I got a process, a perm in my hair. [LOL] That was my preparation.

KW: Marcia Evans says: I’ve loved your work in The Best Man, Pride, Red Tails and Crash, but your performance in Lackawanna Blues blew me away. It’s my favorite film. Have you considered spearheading a project similar to Lackawanna Blues?

TH: I’ve never heard that before. I’m really appreciative that Marcia said that, because I feel that the work I did in that movie was purely a product of the efforts of [director] George Wolfe. I fought him tooth-and-nail every step of the way on the set. Everything I wanted to do, he said, “No, you can’t! This is not going to be Terrence Howard Impersonation Day. You’re going to have to act today.” [Laughs] So, no I haven’t considered doing a similar project, because I prefer impersonating myself. But I would be willing to go down that path again under George Wolfe’s tutelage. He created that charter just like Niels created this one, Alphonse. You’ve got to give credit to the artist. I’m just a color in these directors’ films, and I really appreciate having had the opportunity. 

KW: Professor/director/author Hisani Dubose asks: What type of character do you enjoy playing the most?

TH: I like the conflicted soul, the complicated human being. I’ve never been a perfect man. There’s always been a choice between right and wrong, and no one does a single thing for a single motive. There are many motives behind what we do, and when you dig deeper and try to find the base tone in the harmonic and in-harmonic, you create a palpable, three-dimensional individual. I like to search for balance in an unbalanced system.

KW: Editor/Legist Patricia Turnier asks: What advice do you have for an aspiring actor or actress? What is a major pitfall you would warn a newcomer to the acting field about?

TH: Stop aspiring and just do it! Stop thinking and just follow your instincts the same way a half-billion sperm leaves our father and travels down the maze of opportunity inside our mother. No one tells them how to get there. If you don’t trust your instincts, you’ll get passed by another million sperm and might lose out on the opportunity of life, which is the opportunity to dream. Follow it! You already know where to go, you just have to trust that you know, and stop asking people for advice. You didn’t ask for advice to come to life, and it’s a hell of a journey to win a half-billion sperm race. That’s an amazing accomplishment. Compared to that, working in this industry is not that difficult.

KW: The Harriet Pakula-Teweles question: With so many classic films being redone, is there a remake you'd like to star in with an eye toward a particular role.

TH: Carmen Jones. I would love to play Harry Belafonte’s role in that.

KW: Harriet also observes that you work in film, TV and theater. She’s wondering how different is your preparation for each and which is your favorite performance medium?

TH: My favorite medium is the theater, but the theater has its limitations. The stage is really for well-established actors who have their money together or who don’t have a family to support. It’s more of an artist’s retreat. But I love the control you have as an actor in the theater as compared to the screen. Once you’re on film, the director and the editor, have the final say about your character, and often at the discretion of the producer and the studio. Television is a little more improvisational, but the stage is the only place where you can tell your story without worrying about editing.

KW: Film Student Jamaal Green says: I am a huge fan of your work. He asks: What is your favorite film and was there an actor you admired growing up who inspired you to pursue acting?

TH: That’s a great question, Jamaal. My favorite film would probably be Cool Hand Luke. Paul Newman’s performance was a revelation. It gave me an understanding because I had seen him in Cat on a Hot Tin Roof with Elizabeth Taylor. His portrayal of Luke seemed like what he had intended Brick to be in Cat had finally come to fruition. So, I loved the simple majesty with which he told his story in Luke. Another performance that impressed me was the work that Val Kilmer did in Tombstone. That was one of the most brilliant, modern-day performances I’ve ever seen. I am yet to see anybody trump that. I also love Sam Rockwell’s work. It’s explosive! It’s a gas!

KW: Larry Greenberg says: You have been so prolific as an actor and producer, is there any chance we will see you as a writer and director in the near future?

TH: God only knows what we have in store. Man makes his plan and God laughs. I have aspirations to do many things, but I lack the constitution of discipline to follow all those things through. Time and unforeseen occurrences befall us all.

KW: When you look in the mirror, what do you see?

TH: I see someone made in the image of God. Unfortunately, I also see too much of man scattered about my face with the insecurities and inadequacies and lack of understanding. And I see the source of humanity’s purpose in my eyes, and that’s the desire and attributes of trying to be closer to God with love and morality. But like Blanche [DuBois] said [in A Streetcar Named Desire], “It’s been a long time since I was made in God’s image.”  

KW: The Ling-Ju Yen question: What is your earliest childhood memory?

TH: [Chuckles] It’s a little different. I have a pretty remarkable memory. My earliest memory is from about three months prior to being born. I was searching for my own arm in the womb. I thought it was a friend, and didn’t yet realize that it belonged to me. [LOL] 

KW: Thanks for another intriguing interview, Terrence, and best of luck with Dead Man Down. I loved the film!

TH: Thanks a lot, Kam.

To see a trailer for Dead Man Down, visit

Rust and Bone
(De Rouille et D’os)
Film Review by Kam Williams

Alain (Matthias Schoenaerts) is a homeless street hustler barely eking out a living in his native Belgium when he is suddenly handed custody of a 5 year-old son, Sam (Armand Verdure). Overwhelmed by the unanticipated extra responsibility, the single-dad moves to Antibes in the South of France to dump the boy he barely knows on his obliging sister, Anna (Corinne Masiero).

Buff, imposing and blessed with formidable strength, Alain soon lands part-time work as a bouncer in a trendy nightclub. And he also starts leveraging his good looks into lustful liaisons of brief duration with attractive habitués of the haunt.

Meanwhile, elsewhere in the seaside resort town, an attractive lass named Stephanie (Marion Cotillard) is gainfully employed at an aquarium as a trainer of Killer whales. She meets Alain one evening after he rescues her from a nasty brawl inside his cabaret.

The very grateful damsel-in-distress takes his phone number, but before she has a chance to call, she loses both of her legs in an unfortunate accident when she he is crushed against the side of the pool by a runaway Orca. So, by the time the two finally do rendezvous, she is confined to a wheelchair, and terribly depressed by her diminished life prospects.

Will this roaming Romeo befriend the blemished beauty, or will his roving eye have him right back out on the dating circuit where he invariably has his pick of the litter? That is the crux of the question at the heart of the deceptively-endearing Rust and Bone, a romance drama written and directed by Jacques Audiard (Read My Lips).

This piercingly-evocative love story ultimately proves far more poignant than one might expect of a picture that starts out with such a limited Neanderthal as a protagonist. Fortunately, his character definitely benefits from considerable development over the course of the engaging adventure.

For, he gradually gets in touch with his sensitive side to the point where he’s ready not only to abandon his womanizing ways but to spend some quality time with his neglected young offspring. Besides unfolding against an array of visually-stimulating backdrops, Rust and Bone is blessed by a couple of tour de force performances coming courtesy of Matthias Schoenaerts and Marion Cotillard as the unlikeliest of lovers.

A “Salt of the Earth” saga plumbing the depths of the human soul.

Excellent (4 stars)

Rated R for violence, profanity, graphic sexuality and frontal nudity

In French and English with subtitles

Running time: 120 minutes

Distributor: Sony Pictures Classics

To see a trailer for Rust and Bone, visit

Hava Nagila: The Movie
Film Review by Kam Williams

To most Gentiles, Hava Nagila is just a catchy ditty you get to sing along with at a lot of sporting events. But who wrote the words and the music of this staple of Jewish weddings and bar mitzvahs, and what is the cultural significance of the timeless tune?

These are the questions tackled in Hava Nagila: The Movie, a very entertaining and informative documentary directed by Roberta Grossman. The film features performances of the festive folksong by everyone from Connie Francis to Danny Kaye to Harry Belafonte to Chubby Checker. Also included are humorous renditions by comedians Allan Sherman and Jo Anne Worley and rock icon Bob Dylan.

But first, considerable attention is devoted to Hava Nagila’s derivation. Composed in Jerusalem in the early 20th Century, there is debate to this day whether the lyrics, ostensibly inspired by Psalm 118 Verse 24 of the Hebrew Bible, were written by choir director Abraham Zevi Idelsohn or by his 12 year-old protégé, Moshe Nathanson. At least there is no dispute about the melody, which can readily be traced from Palestine back to the Balkans.

Of far more consequence than the question of authorship is what Hava Nagila has meant to different generations of Jews. Initially, its upbeat message marked a distinct departure from the general tenor of their folk music, which had mostly been nostalgic and sad.

After World War II, the relatively-euphoric Hava Nagila spearheaded a virtual cultural reboot that was sorely needed in the wake of The Holocaust. Thus, for the postwar survivors, it came to represent the existence and resurrection of the Jewish people.

However, the picture points out that Hava Nagila lost some of its luster with the one step removed Baby Boomers who came to see the song less as a visceral reclamation of their roots than as a nostalgic reminder of an imagined past. And its being lampooned on TV shows like Laugh-In, The Simpsons and Curb Your Enthusiasm as well as on countless Youtube clips has left sage Jewish elders of today wondering whether the song still has a soul or if it has been reduced to a symbol of assimilation into the American mainstream.

Regardless, this once-sacred anthem seems destined to be forever revered as a song that, at a critical moment in Jewish history, provided joy in the face of loss and hope in the face of fear. Everything you ever wanted to know about Hava Nagila but were afraid to ask except, “What’s the deal with the ritual of raising a chair in the air like you don’t care?”

Excellent (4 stars)

Unrated

Running time: 75 minutes

Distributor: Katahdin Productions

To see a trailer for Hava Nagila, visit

The Battle of Pussy Willow Creek
Film Review by Kam Williams

Over the years, Ken Burns has shot numerous historical documentaries covering such slices of Americana as Baseball as The Civil War. The latter is the subject of satire in this irreverent mockumentary mimicking the tone of the Emmy Award-winning director’s typical production.

The plot revolves around The Battle of Pussy Willow Creek, a mythical engagement said to have turned the tide in favor of the North. The film focuses on the roles played by four unlikely heroes that fateful day: a gay colonel (Matthew Ludwinski), a nerdy fugitive slave (Barron A. Myers), a geriatric Chinese launderer (Scooter MacRae) and a one-armed prostitute passing as a drummer boy (Mara Kassin).

Ala Burns, the picture features a profusion of talking heads, self-impressed experts who wax romantic while weighing-in about what transpired 150 years ago. Unfortunately, this one-trick pony isn’t very funny, as its running joke wears out its welcome after a half-hour or so.

It might have helped if the flick had a deeper message to deliver beyond one advocating inclusion regardless of age, gender, color or sexual preference. By comparison, the similarly-themed C.S.A. (The Confederate States of America) was a spoof which proved far more thought-provoking because it created an alternate universe where slavery still existed because the South won the war.

Even though the overambitious The Battle of Pussy Willow Creek misses the mark, first-time writer/director Wendy Jo Cohen exhibits sufficient potential to make me curious about her next venture. What’s next, a Glee-inspired, musical lampoon of World War II with black GIs serving alongside openly-gay GIs in an already integrated military?

Fair (1 star)

Unrated

Running time: 96 minutes

Distributor: Wide Sphere Films

To see a trailer for The Battle of Pussy Willow Creek, visit

Jack the Giant Slayer
Film Review by Kam Williams

When Jack (Nicholas Hoult) was a little boy, his imagination was whetted by a bedtime story about a mythical war waged ages ago against a fearsome race of giants that had descended from the sky. Before his mother (Caroline Hayes) died soon thereafter, she suggested that he might even be related to Erik the Great (Craig Salisbury), the brave monarch who had led the valiant defense of Earth against the gargantuan invaders.

Meanwhile, on the other side of the peaceable kingdom’ proverbial tracks, young Princess Isabelle (Eleanor Tomlinson) was being spoon-fed a similar tale about an epic showdown between good and evil. But she was read to at night by her doting father, King Brahmwell (Ian McShane), due to her mother’s (Tandi Wright) untimely demise.

A decade later, we find the lowly farmhand’s path crossing with that of the future queen the day the headstrong teenager sneaks out of the castle to rub shoulders with the hoi polloi. At a puppet show, Jack rushes to her assistance the moment she finds herself being accosted by a menacing gang of ruffians.

The damsel-in-distress becomes so smitten with the gallant lad that she informs her father of a desire to break off her arranged engagement to the insufferable Roderick (Stanley Tucci), an effete lout twice her age. Nonetheless, King Brahmwell would rather have his daughter marry a blue-blooded member of the Royal Court she doesn’t love than tie the knot with a mere commoner.

Before the moment of truth arrives, however, fate intervenes in the form of a monk (Simon Lowe) who hands Jack a few mysterious beans. During a secret visit from Isabelle, one slips through the floorboards, takes seed under his house, and starts to grow rapidly, sweeping the humble abode and the Princess way up into the heavens.

Soon, both of her suitors join the search party, scaling the mile-high beanstalk to an otherworldly realm in the clouds. Jack has no idea that the mammoth plant has also inadvertently reopened a gateway to the ground for an army of gigantic adversaries. And it’s not long before ancient hostilities are reignited over Isabelle and the fate of the planet below.

Directed by Bryan Singer, Jack the Giant Slayer is an alternately enchanting and eyepopping adventure which must be seen in 3-D to be appreciated fully. Between the breathtaking panoramas and the daring derring-do on display, the picture amounts to a captivating, cinematic treat guaranteed to enthrall tykes, ‘tweeners, and just about anyone interested in seeing a classic fairytale brought to life.

Fee! Fye! Foe! Fumm! I smell a hit with the little ones!

Excellent (4 stars)

Rated PG-13 for frightening images, brief profanity and intense violence

Running time: 114 minutes

Distributor: Warner Brothers

To see a trailer for Jack the Giant Slayer, visit