Kevin Costner
The “Black or White” Interview
with Kam Williams
Kevin Michael Costner was born in Lynwood, California on January 18, 1955. After landing a breakout role in Silverado in 1985, he enjoyed a meteoric rise in such hit pictures as The Untouchables, No Way Out, Bull Durham and Field of Dreams en route to winning a couple of Academy Awards for Dancing with Wolves.
Other films on his impressive resume include JFK, The Bodyguard, Message in a Bottle and Draft Day, to name a few. Here, he discusses his latest film, Black or White, a courtroom drama where he plays a grandfather caught up in a legal fight for custody of his biracial granddaughter with the black side of her family.
Kam Williams: Hi Kevin, thanks for the interview. I’m honored to have this opportunity.
Kevin Costner: You can call me Kevin, Kam.
KW: Thanks! I told my readers I’d be interviewing you, so I have a lot of questions for you from fans. Children’s book author Irene Smalls asks: What attracted you to this project, and do you think the plot is relevant, given the evolution of race relations in America?
KC: That’s what attracted me to the project. It reminded me of one of the things I like about movies. I remember how, after I read the script for Dances with Wolves, I just knew that I had to make it, when not everybody else wanted to. But I did end up making it. Similarly, Bull Durham and Fields of Dreams, didn’t strike people as giant movies, but I think the hallmark of all three of those pictures is that they have traveled through time and become classics. And when I read Black or White, I had the exact same feeling. I said, “Oh my God! This is about the moment that we’re living in right now. And this was before Ferguson, and all this stuff. You know, our problems didn’t just start in August. I’ve been living with this my entire life. But I thought there was a level of genius in the writing that I thought would make everybody rush to make this movie also. Unfortunately, that didn’t happen, and so the journey of this project has been very much like the journey of others that I’ve had to push uphill. But I didn’t think Black or White had any less value, so I decided I would pay for it, and make this movie because I just thought it had a chance to be a classic, and because it said some things I think a lot of people need to hear and would even perhaps say themselves, if they could string the words together.
KW: Sangeetha Subramanian says: Black or White looks like a great movie, Kevin. Did you give your on-screen granddaughter, Jillian Estell, any acting advice on the set?
KC: No I didn’t. I just tried to lead by example by the way I behaved on the set, and she understood. She’s a little girl, and I always had to keep that in mind. But she gave us the performance that we really needed. This movie depended on her being really good, which she was!
KW: Harriet Pakula-Teweles says: Field of Dreams’ message was, “If you build it, he will come.” What’s the takeaway built into Black or White?
KC: I guess the message of Field of Dreams, ultimately, was about things that go unsaid between people who really love each other, and about how it’s important that you try to say those things while you’re still alive, so that they have that level of meaning, that level of value, that you can carry with you for the rest of your life.
Field of Dreams, to me, was always about things that go unsaid that need to be talked about. I don’t know what the takeaway for Black or White is, but I do know that if you’re going to make a movie, and it’s going to deal with race, you have to make it authentic, and not pull any punches. You have to use the language that’s appropriate. And I thought this movie was a miracle because writer/director Mike Binder was able to just be authentic in dealing with race. These were things that wanted to be said, so I knew that I would have a kind of a role of a lifetime in Elliot Anderson.
KW: Director Larry Greenberg says: Black or White touches on how alcoholism and addiction impact parenting. Is this an issue that you feel needs more attention?
KC: Well, obviously, you were able to see the movie, Larry, and for that I’m grateful. The hope is that, if the movie did touch you, you’ll continue to tell other people about it. But alcohol, used in any excess, is always going to put a veil over how we behave… clouding our judgment… and affecting our ability to love and to be responsible. And certainly, in this instance, it’s pretty clear that what was driving the drinking was the loss of the love of his life, his wife, and the loss of his child seven years earlier. The discussion of alcohol, and where he is in terms of it, is pretty unique in this film, because at one point he suggests that maybe he isn’t an alcoholic, but just an angry person. And that clouds his judgment when he’s backed into a corner. Also, the movie deals with addictions on both sides, which makes it very balanced and enjoyable to watch.
KW: Sherry Gillam says: Happy Belated Birthday! [January 18th] I saw your picture on the cover of AARP Magazine a couple of months ago. You’re still just as handsome as ever.
KC: [Laughs heartily] Thank Sherry a lot. I have no choice, but that was really a high compliment. It’s been a pleasure making movies for people of my generation. I try to make films that will stand the test of time, so that the younger generations will be inclined to catch up to them. That’s what I tried to do with Black or White. It’s relevant to us now, but I’m hopeful that someone watching it twenty years from now will understand what’s at stake when you’re dealing with the welfare of a child, and of the problem that might come when you overlay it with race.
KW: Sherry did have a question, too. She asks: What makes you smile on the inside?
KC: [Laughs again] A good idea makes me smile. My children succeeding makes me smile. My wife looking at me and saying she’s proud of me makes me smile. Even just being surprised makes me smile.
KW: Professor/director/author Hisani Dubose says: You have such a broad range of movies, which I think is great. What attracts you to a script? Is there a unifying factor?
KC: Sometimes, it’s the chance to say something I want to say for myself. Other times, it’s having an opportunity to say something that I feel everyone in the world would like to say. And Black or White really matches up with that. There are some things said in this movie that I know people have wanted to say for a long time. I was given the speech of a lifetime in the courtroom, and I’m gratified to hear that audiences have been clapping when I’m done. A lot of people would never think that’s possible, given the movie, but I’ve seen it in theaters night after night. That’s been very pleasing to me.
KW: Documentary filmmaker Kevin Williams says: Thank you for making so many great, enjoyable films. When you look back upon your career, how do you remember your magical rise from Silverado to winning a couple of Oscars for Dances with Wolves?
KC: The truth is that I can remember it, I understand, yet I never thought my career would ever have that kind of success. Listen, I’ve had such good luck. I didn’t know it could ever be as wonderful as it has been, although it has had a measure of stress and pain. Still, it’s been an incredible ride. I appreciate my good luck and my good fortune, and I have loved every minute of it. Silverado, Fandango, No Way Out, The Untouchables, Open Range, Hatfields & McCoys, all these movies that I look back on, and now Black or White. Listen, I’ve had good luck, and I get that. I just hope the second half of my life plays out in a way that I am able to continue to make movies that are relevant not only to me but to people who like to go to the theater.
KW: My favorite of your films, one which I’ve watched over a dozen times, is No Way Out.
KC: [Chuckles] That was a movie that wasn’t going to get made, either. It was sitting at Warner Brothers in a state of limbo known as turnaround. It just wasn’t on the minds of anybody. Orion Pictures wanted to do a picture with me, but they didn’t have anything in mind. They asked me what I was interested in, and I told them that there was this picture over at Warner Brothers I really loved called Finished with Engines. I brought the script to them and they decided they would do it, but they changed the title to No Way Out.
KW: Environmental activist Grace Sinden asks: What do you enjoy the most about the moviemaking process?
KC: I really love rehearsal. I love being with people and working on something when no one else is looking. Another aspect I enjoy is having a job where you have breakfast, lunch and dinner with the people you work with. You always get to know people a lot better when you’re actually able to have meals with them. So, I was really perfectly suited for the movie business. I don’t know how I got so lucky, but I thank God for it every day.
KW: Attorney Bernadette Beekman asks: Do you think this film will initiate a debate about interracial adoption?
KC: I think that if you see this movie with someone who doesn’t look like you, you’re going to have an incredible conversation afterwards. I believe Black or White will really foster conversation whether you see it with friends or with your sweetheart, and that you will be a little different when you come out of the theater.
KW: David Roth says: In Black or White, your character, Elliot, is raising a black granddaughter, sheltering her from her junkie dad and the perceived instability of her black relatives. Does this picture pander to “white knight coming to the rescue of a person of color” stereotype avoided by Selma director Ava DuVernay in her downplaying President LBJ’s role in the passage of the Voting Rights Act of 1965.
KC: Audiences coming out of the theater say how refreshing Black or White is because of its evenhandedness in that regard. We know that humans are sometimes willing to fight unfairly, and what makes this picture great is that it feels very, very authentic. We’re not dealing with the same issue that David has with Selma. No one likes to go to a movie and fell like they’ve been manipulated. You smell a rat when you’re being manipulated. The truth is just as entertaining as a lie, so why not shoot the truth?
KW: When you look in the mirror, what do you see?
KC: I see a full life. And I’m raising young children, and my desire to stay healthy and to remain relevant is uppermost in my mind.
KW: The Ling-Ju Yen question: What is your earliest childhood memory?
KC: I remember everything from about 2½ or 3 years-old on. I remember my father coming home and unlacing his work boots... I remember my mom cooking in the kitchen… I remember the curtains… the couches… the smell of the linoleum. I even remember some of my dreams from back then.
KW: I would be remiss if I didn’t mention that powerful eulogy you delivered for Whitney Houston. There were a lot of great eulogies that day, but yours eclipsed them all.
KC: Thank you. Well, Whitney and I had a unique relationship. I wasn’t even sure that I should be up there talking, but it seemed like the world demanded that because of our make believe relationship in The Bodyguard. The world has linked us together because of that movie. So when I was asked to speak, I could only talk about what it was I knew.
KW: Harriet also asks: With so many classic films being redone, is there a remake you'd like to star in?
KC: I don’t really think about that very much. There are a couple that I might redo, but I still just love breaking new ground on an individual movie. I appreciate great classics, and perhaps I’ll make one someday, but I have six or seven lined up, and not one of them is a remake or a sequel.
KW: Are any of your kids interested in following in your footsteps?
KC: No, they’ve all charted their own paths. None of them has pivoted off my name. They’re all doing their own thing. That’s what I love about them. My daughter [Lily] sings in Black or White. That’s her singing in the funeral scene. She’s 28, and an amazing singer/songwriter.
KW: Lastly, what’s in your wallet?
KC: [LOL] What’s in my wallet? Well, at the premiere a few days ago, this Chinese fellow came up to me, handed me his card, and said, “I want to make movies with you.” I haven’t called him yet, but we’ll see if he really means it.
KW: Thanks again for the time, Kevin, and best of luck with the film.
KC: I’m glad you liked the movie, Kam, and thanks for writing about it.
To see a trailer for Black or White, visit: https://www.youtube.com/watch?v=yqlE-7PP7Ho
Black or White
Film Review by Kam Williams
When Elliot Anderson’s (Kevin Costner) wife Carol (Jennifer Ehle) perishes in a tragic car accident, he suddenly finds himself facing the prospect of raising his 7 year-old granddaughter Eloise (Jillian Estell) alone. After all, the couple had originally assumed custody from the moment their own daughter died giving birth to the little girl, since the baby’s drug-addicted father (Andre Holland) was behind bars and totally unfit to be a parent.
Today, however, Elliot does have a drinking problem which proceeds to escalate out of control in the wake of his spouse’s untimely demise. And this state of affairs comes to the attention of Eloise’s fraternal grandmother, Rowena “Wee-Wee” Davis (Octavia Spencer), who soon resurfaces for the first time in years.
She approaches Elliot about setting up visitation, in spite of her son’s substance abuse problems, since Eloise has a lot of other relatives on her father’s side of the family eager to see her. But the wealthy, white lawyer balks at the very suggestion, presumably because they’re black and from the ‘hood, and he’s thus far managed to shield his relatively-privileged granddaughter from the ghetto and its host of woes.
Of course, Wee-Wee doesn’t take the rebuff sitting down, but rather prevails upon her attorney brother, Jeremiah (Anthony Mackie), to file suit. Next thing you know, the parties are slinging mud at one another in an ugly custody battle where Reggie is accused of being a crack head with a criminal record and Elliot is labeled a racist and an alcoholic. Responsibility for dispensing justice blindly falls to Judge Margaret Cummings (Paula Newsome), who might very well be a bit biased in favor of plaintiff Rowena, given that she’s also African-American and female.
All roads inexorably lead to a big courtroom showdown in Black or White, a cross-cultural melodrama written and directed by Mike Binder (Reign over Me). Ostensibly “inspired by true events,” the picture pits a couple of worthy adversaries against each other in Elliot and Wee-Wee, as capably played by Oscar-winners Kevin Costner (for Dances with Wolves) and Octavia Spencer (for The Help).
Any lawyer worth his or her salt knows that you never ask a question on cross-examination that you don’t already know the answer to. Nonetheless, Jeremiah violates that cardinal rule by asking Elliot, “Do you dislike all black people?” This affords the just-disgraced granddad an opportunity to rehabilitate his tarnished image courtesy of a scintillating, self-serving soliloquy reminiscent of Jack Nicholson’s “You can’t handle the truth!” monologue in A Few Good Men.
If only the rest of this racially-tinged baby-daddy drama had matched that climactic moment in terms of intensity. Still, the film is worth the investment for veteran Costner’s vintage performance and for the way in which the timely script dares to tackle some tough social questions in refreshingly-realistic, if perhaps politically-incorrect fashion.
Very Good (3 stars)
Rated PG-13 for profanity, fighting, ethnic slurs, and mature themes involving drugs and alcohol
Running time: 121 minutes
Distributor: Relativity Media
To see a trailer for Black or White, visit: https://www.youtube.com/watch?v=yqlE-7PP7Ho
Americons
Film Review by Kam Williams
It is California in 2007, at the height of the sub-prime mortgage boom. Jason “Jay” Kelley (Beau Martin Williams), a cash-strapped bouncer is offered an alternative line of work in a higher tax bracket by Devin Weiss (Matt Funke), a hotshot real estate broker whose company is in the midst of a hiring blitz.
For, the Feds have recently deregulated ARMs (Adjustable Rate Mortgages), making the liars loans available to any member of the general public able to meet the minimum down payment requirement of a mere 1%. That development has triggered a feeding frenzy which left lenders like Devin with too few employees to process notes fast enough.
Unfortunately, Jay proves unable to resist the easy money being dangled right in front of his eyes like a carrot on a stick. Worse, once greed has gotten the better of him, he succumbs to the suggestion that it’s okay to behave unscrupulously in the name of the almighty dollar. So, he soon finds himself being trained to trick naïve borrowers into signing on the dotted line to finance homes way beyond their means.
Jay’s ethical tailspin begins with his fast-talking an unemployed pal (Trai Byers) with a wife and kids into buying a house he’s destined to default on. Jay subsequently loses his moral bearings afterhours, too, by attending wild parties with his colleagues where snorting coke off women’s bare midriffs is par for the course. Worst of all, when he sobers up and decides he wants out, he’s blackmailed by a manipulative boss (Sam McMurray) who’s been secretly recording his hedonistic behavior.
Unfolding like the West Coast’s answer to the decadence displayed in The Wolf of Wall Street, Americons is a sobering cautionary tale exposing the ugly underbelly of the California mortgage industry. Directed by Theo Avgerinos (Fifty Pills), the semi-autobiographical adventure was co-written by its co-stars, Beau Martin Williams and Matt Funke.
A modern morality play serving as a telling reminder of exactly how easily an American Dream can dissolve into a neverending dystopian nightmare.
Very Good (3 stars)
Rated R for profanity, nudity, sexuality and drug use.
Running time: 85 minutes
Distributor: Archstone Distribution
To see a trailer for Americons, visit: https://www.youtube.com/watch?v=NtxWOOAN33M
Lee Daniels
The “Empire” Interview
with Kam Williams
Daniels Builds a TV “Empire”
After directing and/or producing such successful feature films as The Butler, Monster’s Ball [for which Halle Berry won an Academy Award], and Precious [for which Mo’Nique won hers], two-time Oscar-nominee Lee Daniels [for Precious] has set his sights on TV for the first time. Here, he talks about directing the new nighttime soap opera Empire, co-starring Terrence Howard and Taraji P. Henson.
Kam Williams: Hi Lee, thanks for another opportunity to speak with you.
Lee Daniels: Great, Kam. How are you?
KW: All is well, thanks. What was the source of inspiration for Empire?
LD: My partner, Danny Strong, came to me with this idea of telling a story about my life, and merging that with music and the Hip-Hop world. He wrote The Butler and originally wanted to do Empire also as a movie.
KW: I had no idea it was semi-autobiographical. Why TV, as opposed to the big screen?
LD: What happened was we decided that’s enough with movies, let’s do it for television so that we could bring this to life for America on a weekly basis. It picks up, historically, where The Butler left off, and deals with race relations. It’s a little bit like my family, a little like some friends of mine with money, their world, and a little like some of my friends without money, their world. I think it’s the African-American experience.
KW: Which character are you? Lucious Lyon [played by Terrence Howard]?
LD: I’m Lucious… I’m Jamal… I’m all of the characters. My sister and my cousins are Cookie [played by Taraji P. Henson]. Cookie’s little bit of all of them.
KW: Harriet Pakula-Teweles asks: How do film actors like Terrence and Taraji make the transition from the big screen to the small screen?
LD: That’s a very good question and a very complicated one, because with film we get the luxury of time. It works at a different pace. It’s nice and slow. As a film director and as film actors, you get used to a certain rhythm that’s slow. But with TV, it’s hurry, hurry, hurry, hurry, hurry. It’s a different pace. So, it’s about adjusting to the pace. It’s not meant for everybody.
KW: Has the frenetic pace frustrated you?
LD: No, I think it’s made me a better director, because I have to think fast. I no longer have the luxury of taking my time. Does that make any sense?
KW: Absolutely! Chalyn Toon asks: Did you consider other actors or did you always envision Taraji and Terrence for the lead roles?
LD: I always considered Taraji, but even though Terrence and I are very good friends and had worked together on The Butler and were thinking about doing The Marvin Gaye Story. But I didn’t know if he’d do TV. I was thinking of Wesley Snipes for the role, but word on the street was that Taraji wasn’t feeling it anymore. Then she told me, “I’ll do it, but only if Terrence does it.” I went, “girl, you ain’t even got the job yet.” And I was like, “Terrence ain’t going to do TV.” But then he said he would, and there you go.
KW: Chalyn also says: Most writers avoid dealing with homosexuality within the black community. What made you choose that path? Unlike your counterpart, Shonda Rhimes, who has depicted white males in a passionate relationship, perhaps to target a whiter audience, you’ve put two males of color in a gay relationship. Why did you choose to do so?
LD: I did it because I think it’s time to destroy a myth in the black community about gay men. When I was doing research for Precious, I went to the Gay Men’s Health Crisis here in New York City, because the movie dealt with AIDS. What I expected to see was gay men, but what I found were African-American women and children who’d been infected with HIV by black men on the down-low. They were on the d-l because their pastor says, because their minister says, because their neighbor says, and their homeboy says, “You can’t be gay.” Black men on the d-l are killing our women. I can’t hate the men on the d-l, I only hate that they’re on the d-l, because our people forced them to be. So, this is really dedicated to educating. This is the civil rights movement of our generation.
So, this is really dedicated to educating
KW: Editor/Legist Patricia Turnier: You are working on a Richard Pryor biopic. What does he mean to you?
LD: The more research I do, the more I uncover not only his brilliance, but how much of a pioneer he was at a time that was harder on African-Americans than it is right now, if that’s imaginable. His experience as a black American was very similar to mine. We both come from troubled backgrounds. He was very open about his sexuality, and what he did, and he spoke the truth. And he fought for the truth for everybody. And because he was so tormented, he was a drug addict, and so was I. Our similarities are strangely connected. So, he speaks to me. He was ahead of his time, and he didn’t even know that he was changing the world through humor. He was uniting African-American and white Americans through his humor. He didn’t know, and I hope to do him justice.
KW: Marcia Evans says: Lee, I'm major proud of all your work, and I'm digging Empire. Congratulations on your weight loss. You’re looking good. Vegan is working for you.
LD: [Belly laugh] I’m not really vegan. I’m vegan-ish. I have a piece of lamb every now and then.
KW: Thanks again for the time, Lee, and best of luck with Empire.
LD: Thank you, Kam. Talk to you soon.
To see a trailer for Empire, visit: https://www.youtube.com/watch?v=dBzu_jKLJek
The Imitation Game
Film Review by Kam Williams
At the outset of World War II, the Nazis gained the early advantage with the help of its Enigma, the encrypting machine which enabled the German military to communicate without having to worry about any messages being intercepted. In response, Winston Churchill deputized eccentric, math genius Alan Turing (Benedict Cumberbatch) to handpick a group of fellow savants whose appointed mission would be to crack the Enigma’s inscrutable codes.
Operating on the campus of a cypher school located in Buckinghamshire’s Bletchley Park, Turing’s exceptional eggheads immediately embarked upon a surreptitious race against time every bit as important as the fighting simultaneously unfolding on the battlefield. And when they finally did manage to decipher German communications, it remained important that they keep that fact a secret.
You see, the info unearthed afforded the Allies fighting on the front lines a competitive advantage. So, if the Nazis ever caught wind of the fact that their supposedly inscrutable commands were actually being intercepted, they would undoubtedly have immediately altered their encrypting.
The British government credited Turing’s team with saving millions of lives while shortening the conflict in the European theater by a couple years. That important achievement is the subject of The Imitation Game, a bittersweet biopic directed by Norwegian Morten Tyldum (Headhunters).
Nominated for eight Oscars including Best Picture, Director, Lead Actor (Cumberbatch), and Supporting Actress (Keira Knightley), the film is based on “Alan Turing: The Enigma,” Andrew Hodges’ belated tribute to the unsung hero. Unfortunately, despite the pivotal role he had played, Turing was never really recognized as a national hero because of his homosexuality.
Instead, after the war, he had to suffer the indignity of being persecuted, arrested, convicted, and ultimately chemically castrated for being gay. That led the brilliant visionary to commit suicide while on the brink of inventing the computer.
Though that tragedy can never be undone, at least we live in more enlightened times, when an icon of Turing’s order might finally be afforded his due. A well-crafted character study which just might land the talented Benedict Cumberbatch a coveted Academy Award.
Excellent (4 stars)
Rated PG-13 for sexual references, mature themes and smoking
Running time: 114 minutes
Distributor: The Weinstein Company
To see a trailer for The Imitation Game, visit: https://www.youtube.com/watch?v=S5CjKEFb-sM