Part 3 of the Michael Vass interview with Sundance noted director Dennis Dortch

This is the third part in my series of the taped interview with Sundance Film Festival winning director and writer Dennis Dortch. In this part of the interview we discuss the DVD of his movie A Good Day To Be Black & Sexy, the motivations of the characters, and several of the actors.

You can see the first part of the in depth interview at Sundance director Dennis Dortch interviewed by Michael Vass

You can read the second part of the interview at Director Dennis Dortch interviewed by Michael Vass - pt 2


Michael Vass : I can understand. Perhaps that’s why, and I think that a lot of people will find this through out all of your vignettes, that there is a lot of honesty. It is very honest. Very almost taken directly from life. You did a great job with the writing and directing and being able to make it like a real moment. I think that adds a lot to the power of what’s going on there. It’s just that I just like it the other way because it kind of almost gets a comeuppance. To a certain extent it kind of gets that a little more.

I did watch the extras which I think most people should see. You’ve got a lot of different things happing within the preparations. Some of the scenes are very different from what we got in the final version. I guess you did that with all the different actors going just a little bit more off the cuff just kind of letting them roll with it to a certain extent. Is that correct?

Dennis Dortch : Yeah very true I think it goes along with the honesty thing. After a while the scenes start sounding like lines. I think I write natural but it does not sound natural coming out of the actor’s mouth. It’s because for actors its their job to make it believable in the scene; to be in the moment. I can’t direct them on every single nuance. So I think having them have that freedom to be able to improvise and explore goes along with the same goals as being honest and true - makes it more real.

Michael Vass : Ok I can see that and it did work. It works very well.

One thing you didn’t change in any version, at least it looks like that from the extras, is the American Boyfriend storyline. You could have used almost any type of group of people. Inparticular you could have gone with some whites, some Russian. You could have gone to native Indians, or Jewish. There are so many people you could have interjected instead of Ann Marie Liu (Emily Liu) I believe that’s her name. But you went there in that direction and they're Chinese. Traditional Chinese I believe? Is that correct?

Dennis Dortch : Yes that is correct.

Michael Vass : Why did you make that choice to the Asian? To use Asians.

Dennis Dortch : For two reasons, one is because its really happened in my real life so I stuck with that and what I knew. And two - there’s a particular type of tone I was going for. I can only write what I know number one and number two a lot of people can identify and have had more experience with a Chinese family.

I could have made them Mohican but it just seemed too straight forward. To on the nose and racism does go beyond, people learn it. You know what I mean? So that is another part that I wanted to get at and I also wanted to bring in a freshness something that was different to. And felt a little different as far as a Chinese family hanging around popping the Mandarin.

And I think the other part was quite honestly, it was like Alphonso. He had the same experience with a Chinese girl he was dating, and my editor who edited that particular vignette, he had the same experience. He [editor] was not really dating the girl but he was friends with her but she would never take him to her house till one day they dropped by to pick up some stuff and he felt really strong with it… and so everybody can identify with it. But this is after the fact, after I wrote it of course. But I knew I was on to something that was very identifiable. Speaking the Chinese was really the way to go.

Michael Vass : It makes perfect sense to me, and it is a different approach to that theme. I just know some readers are going so say, ”well why did he do that?” So I just wanted to ask that. So you said that it happened to you? Did you actually walk through the door like that at the end? You said it was something that you did.

Dennis Dortch : No it was something that I wanted to do. I didn’t have the courage to do that. I get to do that in the movie but I didn’t. We were caught like the line where Ann Marie says he’s just a friend, that happened. I was hidden in that room or pushed out the back door on about three occasions.

Michael Vass : I’ve had that happen too.

Dennis Dortch : On the fourth occasion her parents walked up. It was hot you know you have the door open the screen door closed and they walked up and I didn’t even see them. They walked in on us and my girlfriend at the time let go of me and jumped and said, “he’s just a friend.” It was hurtful so that is exactly how that happened and so that actually played out in the film, but the other part was made up. A scene that was in my head that I wanted to do since I was sitting in that room steaming for hours you know.

Michael Vass : I think there is a lot of black men who can cheer that on, because I’ve had a similar experience to that same one and I didn’t [do anything]. I’m a strong man too and no I didn’t make that confrontation either so I can relate both to.

We all want to be him walking out that door but then again most of us aren’t going to do it. So that’s why I wanted to ask that because its kind of funny. Because we’ve all had that same experience.

By the way where did you find Nana Hill?

Dennis Dortch : She actually auditioned for Reprisosity and you probably saw that on the extras. She was just a girl who would literally go down and do it. So she didn’t work at all. But I liked her so much, that sensuality in her, and I definitely wanted a chocolate sister. I love natural hair in an afro so I wrote that part for her, it was supposed to be that hidden tract after the credits. But it was shot so beautifully that it was a nice little interlude that I ended up putting it into the main film.

Michael Vass : Where is she from? She sounds almost South African.

Dennis Dortch : Yes she is from Uganda.

Michael Vass : She is stunning and I think you just may have started a great career there because I can’t see Hollywood turning around and going I can’t use her. They’ve got to be using her more.

Dennis Dortch : Last time I saw her she was on CSI, but yes she is getting work here and there.

Michael Vass : Let me just skip ahead a little bit on a question that is also of interest into the actors you’ve worked with so far. Are you looking at going into the same thing that Spike Lee, Clint Eastwood and a few directors do. Which is to use a consistent core group of people over and over again in most of your films, or at least several of them?

Dennis Dortch : I don’t know, I’m not sure yet. But it’s possible to do that some times. I’m not sure yet but I don’t think that they knew that at the time either you know.

I think they were kind of looking for people. Probably new fresh people and just going back to people like Wesley Snipes, you know just kind of going back to the same actors. Because you know there really is only so many great actors. So I don’t know if we really are premeditated to do that, I think we just naturally kind of run out of options.

Who knows what this person really embodies, then you just start writing for people we know because we’ve got something so strong in our heads. So its kind of hard for me to say what I would do. I have no idea right now.

I have my next film in my head and I’m not thinking about any particular actor I’d use. Chonte is probably the one that comes to mind more often. Between her and Mylika who played the girl in Tonight, those are my best actors. And in my head yes I’d use them again but I’ve not made any plans yet.

Michael Vass : Ok so there is something for people to look forward to and I know they both have fans. But there are people who are fans of several of the people you use. So there is something they will be looking forward to in your next item.

Before I go there though …give me a moment, I’m just thinking through … there are a couple of things I wanted to hit on. Did you have a favorite story in this? I know American Boyfriend is one that you’ve lived but was that your favorite or was there a favorite in all the stories?

Dennis Dortch : No. They’re all my babies.

Michael Vass : Well its all yours that’s true.

Continued in part 4…

Director Dennis Dortch interviewed by Michael Vass - pt 2

This is the continuation of my taped interview with acclaimed director and writer Dennis Dortch. You can see the first part of the interview at Sundance director Dennis Dortch interviewed by Michael Vass.

To see the review of the award winning film by Dennis Dortch, go to DVD Review: A Good Day To Be Black & Sexy


Michael Vass : The truth is truth.

Dennis Dortch : It may not be the truth for everybody but its certainly something that exists in the world. Its apart of behavior. I have not thought about him in years. You asked me that question and he is probably the guy that turned on the switch on for me to make it ok for me to do what I do, and think what I think, and do it the way I want to do it, you know?

Michael Vass : Would you include him in say the heroes or people who were inspirational in your life that have helped create the directorial vision that you have now?

Dennis Dortch : I would if I could remember his name. I should add George Lopper. He was my creative writing teacher in my senior year and I almost flunked out that year. I had all good grades but, you know, I had a girlfriend who kind of took my attention away.

Those two people I would definitely include them as my heroes and inspiration. I almost forgot about Nikki Giovanni. I had just discovered Nikki Giovanni for the first time. I was in an AP Class in high school, and literally there was two black people in this entire thing. We had a half black school but in this class there was only two if us. So your looked at as being special or whatever and I was reading books that I had never been exposed. I was reading Nikki Giovanni and he [George Lopper] was like ok if that’s what you want to read that’s cool. Giovanni was saying some pretty strong anti-white stuff and he was cool with it. He’s white and the whole class was white, but he was like if this is something your interested in then I’m going to let you go with it. So defiantly I think those three people would probably be a heavy influence on me to be myself.

Michael Vass : I can understand completely. I’ve had a couple of teachers like that myself. I think they are really important. Besides just going to school, having a teacher somewhere along the line that gives you that opportunity to expand on besides what is there is really critical. That’s what I’ve always felt.

Going back to the movie, and looking at the order of the film. Was there a purpose in the way you put the order of all the vignettes together?

Dennis Dortch : I had a slightly different order of my first cut and the writing it was a little different too. My goal really was to make it feel like a mix tape. So sometimes you know when your mixing songs together you go by the feeling and the beat. If I do something different in the vignette that I put together then it’s the feeling and the beat, the rhythms, how they flow, how you feel about them.

I would lay them out and watch and see how they made me feel, you know. The only thing majorly I changed in my final edit was American Boyfriend - the last one. It used to be second to last and I had Tonight part 2 to be last. And what it did was have a real sleepy feel to it so it was like…

Michael Vass : Too slow.

Dennis Dortch : Yes literally, and it was like a real somber ending. I had a test screening. Really I thought it was my premier but it turned into a test screening after I thought that it didn’t quite work with the audience. I didn’t embody the concept. It just felt like kind of a somber ending. So I ended up changing the ending. That was the only thing that I sort of you know changed.

Michael Vass : Well I liked the way it ended because that was a real big positive and it starts with a big jolt. As I said before at least for me it was a big jolt. Because it’s so different what we are getting there and then it ends with the American Boyfriend and that was pretty much the best of the vignettes. The one I like the best. It’s very positive to me. Very up lifting. Very... break through. I don’t know how to explain it exactly but it was very positive, I liked it a lot. So I agree with your order.

I was just wondering if there was that. I noticed that your going in many different directions through out the entire film. Were you trying to emphasize one type of over all theme through out the entire movie or was it one theme. Besides the idea of being black, being sexy, relationships can be more multi-dimensional than what’s been exposed already. Besides that theme was there anything else you were tying to get through?

Dennis Dortch : No that was really basically the cohesive thought I was going for. The goal was really to make each one feel different. And then do something different. I was literally trying to make a mixed tape on film. That was my real goal.

Michael Vass : Ok well it worked it’s a different approach because you really just don’t see films that really do that. At least if there were they are probably really very old because I have not seen anything like that in quite some time, quite some time. Nothing even close.

You also picked a great cast, I mean you really had a great cast. Chonte Harris - I really liked her a lot, I think she did very well. Alphonso Johnson as I said he’s one of the reasons I loved the American Boyfriend section. The section with Julian, I forget his actual name…

Dennis Dortch : Jerome Hawkins

Michael Vass : Yes. That story line drove me nuts. Tonight part 1 and 2 and its very... I guess harsh is the word. Cause your kind of dealing with child sex. In a way. Did you have trouble filming that? Was that a difficult one to write?

Dennis Dortch : It was probably not difficult in the sense of any angst but it was difficult to try to get it honest. You know, it actually changed several times. But the outcome is the same to a degree. And I talked to the actors before hand about their own experiences. Even the talking to the girl her first time, was with an older dude and she was under aged, they all identified with it. I just played on it, I mean I have a different ending …

Michael Vass : I saw that…

Dennis Dortch : And there is the extra that I just cut out thought it was kind of a cop out to me.

Michael Vass : You think so?..

Dennis Dortch : I’ve heard from people like these older black gentleman that like the alternative ending…

Michael Vass : That would be me… I’m old and I like the alternative ending.

Dennis Dortch : They told me ‘like oh another older black man, I didn’t want to see another negative of a black man this and that.’ And my wife echoed ‘it reminds me of [her] first time.’ Or some have said its sounds like what happened to my first boyfriend. It depends on your perception.

You know it’s quite funny how the same film effects people depending on what their experiences are, what their agenda is. How some people are like "oh god I wish you weren’t going to do this" and then others were like, "this reminds me, this is so real." I think this was my goal.

I had an actor who is semi known, who I was sort of pursuing for playing the role and he didn’t want to play it. He said I just can’t play this role because he does not even get his comeuppance; he does not even go to jail. Nothing happens.

How many times do you see a guy go to jail for statutory rape? It does not may any sense. It’s not going to stop anybody from doing it either by playing it realistically. The only time you’re going to have the conversation about it, it’s got to be somewhat controversial true and honest. And I’m not trying to save the world or say its ok. I have a daughter myself who I don’t want that to happen to. But I have to be honest with myself, with what my goals were, and portray things honestly. I could not take away from the uncomfortableness of it. You know?

Continued in Part 3...

Black Entertainment USA presents a first look at the next Dennis Dortch presentation

Here it is. A sneak peek at part of the next thing to come from Sundance Film Festival recognized writer/director Dennis Dortch. This is an exclusive that even the hollywood gossip sites do not have yet. You my readers get it first.

As I mentioned earlier, Dennis has been working on a couple of projects since the acclaimed A Good Day To Be Black & Sexy. Already the film has been released on video, and now the next step in the Her Man storyline can be revealed. But this is only part of the things that you can expect.

While I cannot say more, I will note that Dennis Dortch has been very busy. I believe that in the near-term we will be hearing a good deal more about the various projects that are on the horizon.

For those not familiar with the original film, Black & Sexy is several stories, each dealing with different aspects of Black sensuality and sexuality. Many are based on real-life expereinces. Others are moment in the day reflections of the lives some of us have lead.

One of the stories is Her Man - starring Marcus Harris and Chonte Harris from the original film. This is a follow-up, or more accurately the what-happened-next. It picks up where the movie leaves us and gives a bt more incite to the characters and their motivations. (You just knew he would be back around her again, didn't you?)

Suffice to say that if this is the style and direction we can expect from Dennis Dortch, he should have a very successful and long career. To see more of what is going on you can check-out the BSides and look for an offical launch soon.

DVD Review: A Good Day To Be Black & Sexy

I just finished watching A Good Day to be Black and Sexy, which is now out on DVD for those that missed it in the theaters, and I have to say WOW. No wonder it did so well at the 2008 Sundance Film Festival.

I didn’t just watch the film; I watched the extras the DVD provided, auditions, deleted scenes, behind the scenes and more. Because the film captured me. And I’m trying to find a way to explain how.

The film is not your generic action, drama or so on film. This is more of an art house film. But don’t let that put you off on seeing this film. There is humor, and sensuality, moments of fear and disappointment, and a consistent display of daily life in all its forms.

The film is broken into several vignettes. Each is separate of each other, with the exception of Tonite (parts 1 & 2) though they are only connected by the character Tamala (played by Mylika Davis). And each expressed something very different about love, sensuality, sex and the pursuit thereof.

What will really blow the mind of some viewers is the fact that all the characters except Jasmine - Emily Liu - and her family are Black. This may not sound like a big deal. But once the film starts, it takes mere moments for your mind to wake up to the fact that you haven’t seen this before. It just doesn’t get conveyed in Hollywood. Except in the most superficial and more often than not violent manner.

I should also mention right off the bat that this is not a film for kids. This is R-rated and it deserves that rating. This is mature content. But it is also thought provoking.

For me the 3 best vignettes of the film have to be Her Man, Reprise, and American Boyfriend. Not that the other parts are not good, just that they evoked the most emotional reaction from me. Though I admit feeling the fear for the safety of Tamala in Tonite part 1, and anger at Julian - played by Jerome Anthony Hawkins - in Tonite part 2.

I can tell you that there was not one part of this film that did not evoke some emotional response from me. Whether it was a sense of unease, humor, a desire to punch one of the male characters in the mouth, or triumph, each part had me moving with it. And considering that the overall pace of the film is slow, taking it’s time to do what it needed to, its hard to have an audience follow so closely for so long. Yet Director Dennis Dortch succeeds.

Director/Writer Dortch hits a nerve in this film. He makes you want to know more about these characters. He gives you a glimpse and you want the extras as soon as you can get them.

And the cast of actors is a great find. If several of these actors and actresses don’t get more attention from Hollywood it proves the whole thing is rigged. Because the talent is just so apparent.

This is especially true with the character of Helena, played by Chonte Harris. Helena is bitter, unsatisfied, spiteful, loving, and quite possibly in love all at once. Her lines are short and simple, yet convey a huge depth of conversation. And her movements give the impression of a spring coiled and ready to explode.

For the male actors Alphonso Johnson, portraying Jesse, is the stand out. While he may not have a lot of screen time in which to work, he moves you. His desire to understand, his frustration at being ignored, his anger at being minimized all play thru. And his ultimate act of wordless defiance, and expression of love just rocket you with joy.

And there is chemistry among all the couples. Perhaps best personified by Nana Hill’s Candi and Kareem Grimes’ Russell. You can feel the trust, playfulness and wild abandon waiting for its chance.

I have to mention that I seriously think that Nana Hill will be seen a lot more. It’s no surprise that her image is the cover of the DVD, and her acting equally conveys that sensuality and something extra you just can’t describe.

And I strongly suggest watching the alternate ending to Tonite part 2. Which I felt needed to be seen, and if there must be a negative mentioned it has to be that this was not in the feature film. Or at least I wanted it to be as I was so angry with Julian.

Director/Writer Dennis Dortch has done a great job with this first film. In many ways I can imagine this leading to a career much like Spike Lee’s. Controversial yet in a gratifyingly different manner. And not afraid to place the viewer in a position they may not have expected to be in, while still making the experience worthwhile.

If I sound positive and excited about this film, I am. Far too few films these days give you an experience. Most of the time you can watch something and forget everything you saw in the last 2 hours 2 minutes after it’s over. When a film leaves you with something tangible it needs to be lauded.

I have many questions I’d like to ask Dennis Dortch, and I hope to have the chance to ask him sometime soon. But I can and do say that I recommend owning a copy of this film.

A Good Day to be Black and Sexy

Music has always been an integral part of being Black in America. It has been an escape, a statement of defiance, a shout of joy, and a deep reverence of faith. Black culture is so deeply woven in music as to have influenced all forms of music in this nation.

From Blues to Jazz, R&B to rap, Rock n Roll to Gospel. Not a single form of music in America has not been touch, expanded, or created by African Americans. So it is no surprise then that when it comes to movies that feature African Americans music is vital to the experience. But I have never seen a movie trailer where the music is the driving theme of the plot. Until now.



Don't let the trailer fool you though. There is much more to the film. It is a trip through 6 relationships that are all connected in Los Angeles. It's a 1-day journey into Black sexuality. And that is a subject that really has not be dealt with in movies. Nor has a Black film so closely modeled music.

There have been films with Black sex, or relationships, or marriage as the driving theme. But not sexuality, sensuality. What is sexy, what is beautiful. It's a slow European-style dance of humanity. As director Dennis Dortch says

"It's a Black art house film."

This film did well at Sundance. It looks to take Black cinema in a new direction as has been stated. I find both of those things intriguing. And I have to laugh because only in Hollywood and the media could the thought of African Americans be so limited as to be defined by what has appeared on televisions and movie screens.

This film probably won't get overly wide distribution, which is a shame. It looks good enough to deserve as much of a chance as any other film, and honestly considering what has been out for most of this year, more. And if it does well I'm sure it will open avenues and get Dortch more opportunities like Spike Lee and Tyler Perry have deservedly gotten.

I say this is a good film to see. Because it is different. Because it goes in a direction no one is looking. Because it is expressing more than the normal media restrictions. And that is almost always a good thing.

If you do get the chance to see the film let me know your thoughts. I'll be looking for it myself, and will give more details then. Look for it on December 5, 2008.