Towards the close of this year’s Pan African Film Festival (PAFF), a mild murmur of disenchantment circulated among theater-goers about the closing night screening of the Miles Davis biopic, “Miles Ahead.” Later, at the Berlin Film Festival on the other side of the globe, filmmaker Don Cheadle revealed that his 10-year quest to get this project made reached fruition only when he rewrote the script to include a White character (a journalist played by Scottish actor Ewan McGregor, who is instrumental in getting the reclusive trumpeter to return to public life) in a pivotal role.
Indignation at PAFF revolved around the notion that Davis, the legendary “Prince of Darkness,” renowned for being one of the first public figures to display an uncompromising attitude on racial issues, would depend on a Caucasian person to be the catalyst to get his career and life, back together. Cheadle made this revelation during a press conference to illuminate what he called “… the realities of the business that we’re in.”
The idea that Cheadle, a proven talent whose skills have repeatedly bridged the mediums of feature film and television, needed to make concessions to complete a narrative on one of the most musical and cultural figures of the 20th century, is just another intriguing morsel to add to the stewing discourse about diversity and inequality in the film industry simmering in the days before the Academy Awards ceremony on Feb. 28. It speaks to the difficulties faced by people of color who seek to broaden the horizons of the traditional offerings served up by those holding the industry purse strings.
Such is the life of advancement in the “Hollywood Dream Factory,” which may or may not include a racial agenda. Trade publications abound with articles chronicling the intricate machinations involving cast selections in potential blockbusters, in search of that elusive combination that will yield a jackpot.
Cheadle’s experience does not diminish the result of his effort for producer Mel Jones, who savors “Miles Ahead” as an enjoyable film experience.
The urge to tell stories manifested itself early in childhood for Jones, who helped make 2014’s “Dear White People, “a film festival success. Her filmmaking quest began in childhood, as she corralled her siblings to perform plays before the family in Richmond, Va. This inclination stayed with her during a collegiate career at Howard University and the American Film Institute (AFI). Her individual career focus was informed by a stint as an English instructor in Thailand between her undergraduate and graduate studies.
Being in a vacuum (because of underexposure to other, dissimilar experiences) inhibits one’s personal growth, she believes, citing her friendship with a White girl formed in southeast Asia, where they bonded as westerners having much more in common with each other than those surrounding them.
“It takes away from our humanity,” she says of an existence isolated from the opinions and viewpoints of others not within the same ethnic or social strata.
As a result of this association shaped thousands of miles outside the confines of the United States, they participated in each other’s wedding and formed a relationship lasting years.
Jones credits AFI with preparing her for the realities of success in Tinseltown in 2010; she was one of three African Americans in that school’s producing discipline, and the sole student to complete the conservatory graduate program.
Superseding the racial and economic hurdles that are part and parcel of society at large is the reality that entertainment is a competitive and cutthroat business for everyone, regardless of gender or race. She says that the showbiz reality is that achievement is largely a question of stamina over talent or other personal qualities.
“(I learned that) I was gonna have to suck it up,” she says of the realization that her willingness to endure and overcome any obstacles in her path was the key to her career sucess.
A crucial initial asset was the mentoring she received from a White female executive who clued her into the social intricacies of form letters, telephone etiquette, and other niceties that are crucial in the insular entertainment industry. In spite of her own personal success, the Hollywood grind eventually wore down her guru, who abandoned the “Boulevard of Broken Dreams” for other pursuits.
This preliminary good fortune for Jones was followed by periods of unemployment, buoyed by her determination and resilience. A fortuitous encounter with mega successful producer Stephanie Allain (“Black Snake Moan,” “Boyz n the Hood,” “Hustle and Flow” etc.), and their discovery of similar tastes (including the 2011 Congolese revenge thriller “Viva Riva,” which they unsuccessfully attempted to remake for the American market), led to her current position at independent production company Homegrown Pictures.
Interestingly enough, the money to complete “Dear White People,” a comedic satire about minorities at an Ivy League college, came from White investors through their close personal relationship with director, Justin Simien.
Rolling with the punches and dealing with disappointment, Jones is committed to the idea that overcoming these obstacles is a necessary hurdle for everyone’s benefit.
“We’re too homogenized,” she believes, referring to the cookie-cutter approach to minority representation in all media, believing there is room (and need) for dissimilar visions like Tyler Perry, Spike Lee, and others. She is opposed to the idea of a boycott however, and believes the current state of affairs is a systemic issue to be overcome by other, possibly alternative means.
“It’s the responsibility of the industry and its nepotistic hiring practices to overcome our current state of affairs,” she summarizes.
With eight short years under her belt, Jones is still a neophyte compared to producer/writer K-Tusha Croom’s 20-plus years in the industry, although the two share a commonality in certain views. The youthful experience of seeing the original “Raisin in the Sun” (1961) and the realization that dramatist Lorraine Hansberry was a woman of color instilled in her the idea that she too, could become a writer. The years of struggle and turmoil have reinforced the reality that every achievement is hard-earned (and the ability to compromise, as in the case of “Miles Ahead”), and the pursuit of a job in the industry is a choice not to be taken lightly.
“If you’re in this business you do it because you love it,” she declares.
In this, she echoes Jones’ admonishment to overcome whatever hurdles standing in the way.
“Once the system is not working for you, you should find another way to make it work.”
“The Black story has always been marginalized, but now that African American viewers are showing their support in dollars at the box office, mainstream audiences and White Hollywood establishment are starting to take notice,” she concludes.
“Hopefully that will change their collective attitudes towards funding stories that don’t necessarily reflect their backgrounds, but are still part of the (overall) American story.”
As might be expected, many of the industry noteables approached for this article declined to be interviewed. The prospect of being ostracized for speaking out is an all too real possibility for the vindictively inclined segments of the industry. With three days to go before the festivities commence at Hollywood ‘s Dolby Theatre, the possibility of additional drama to fuel the controversy is very real.
