Podcast appearances and mentions of malcolm lee

The Best of The Micheaux Mission presents one of Len's favorite episodes—their 2019 review of writer-director Malcolm Lee's classic THE BEST MAN—featuring one of his favorite guests, Tia Whitfield of Sunkissed Media. Trust us—this will change your perspective on this classic star-studded romantic comedy forever. Check out what Tia and her partner Shameka Sawyer are doing for BIPOC, LGBTQIA+, and women artists, influencers, and content creators at Sunkissed.art Subscribe to the Mission on YouTube  Rate & Review The Mission on Apple Email  micheauxmission@gmail.com Follow The Mission on Instagram We are a proud member of The Podglomerate - we make podcasts work! Learn more about your ad choices. Visit megaphone.fm/adchoices

Welcome to the DMF. Where I try to find out what motivates people behind the scenes in the world of acting and entertainment. Today on the podcast I am talking to film composers: Michelle Birsky and Kevin Henthorn. They just scored the new Netflix series' Terminator: Zero. We talk spoilers and creating themes for characters. Spoilers are talked about in this episode. As always you can reach me on Twitter, Instagram, and Facebook with my name Justin Younts. Thank you for listening and sit back and enjoy. Welcome to the DMF. I'm Justin Younts. This is part two. Now you guys did the scoring process in Air Studios, right? Just for the choir. Just for the choir. Yeah, so we flew out to London to record there. That was maybe one of the best experiences I think we've had recording. It was very, very special and cool. But yeah, it was just a small choir. And so everything had already been written. So it's just about going in there, getting rid of our MIDI choir, any of our temp choir, making it sound more human. Other than that, everything was done here. How did you guys go about choosing the themes for the characters? How did that process go? And was that something that you could really only... Before you got hired, were you... Because you did the first episode and that was kind of like your test. And I was like, yeah, you guys are hired. But were you privy at that point of kind of where the story was going so that you could know? Madsen gave us... We had access to everything. We were very close with Madsen, so we were able to get in from that side. So when we started doing character work early on, pretty much around when we were scoring the first episode, we knew where all the characters were going. So we had a very clear picture of their arc, which helped a lot. OK. All right. So I think now we're going to get into spoilers here. So this is going to be hard to talk about the music without talking about spoilers. So let's let's do it. Doing spoilers now. Click off if you don't want to hear any more. I love the idea in this story, you know, that we find out at the end that Aiko is really Malcolm Lee's mother and that the Oracle sends back his mother to save him. I just thought that was such a great twist. It didn't come out of nowhere. You can tell they protected the twist, you know, when they're on the bridge, you know, never sees her. Was that something that you got when you guys... Did that influence you guys when you knew that was kind of where it was going or is that something you guys found later? I think it influenced us a little bit. We the two themes for, I guess, like Malcolm's theme and Aiko's theme do have some similarities. And I think that was intentional. We never wanted it to be blatant, but I think having just like a it's a little bit similar. Like you hear his stuff and then you hear hers, but hers is in the future and dressed completely differently. But, yeah, there was some similarities between the two. And I think we used we knew it was going to happen. So it was we started thinking about that in the beginning. And then there was a really small, like vocal line, a female vocal line over. I forget which episode it is. I think it's episode it's when Malcolm's talking about his origins, his origin story. And, you know, during the birth moment, we have this vocal sample come in. Then again, we have it come in when he's talking to Aiko in episode eight as all this action is coming around. And then we have it again. Can I do big spoilers? Yeah, yeah. We have this vocal line that's kind of threaded through and it's subtle, but it's like we were very aware of when to thread it in. Was that something when you guys were looking at the script? We're like, oh, wow, this is really interesting where they're where they're going with this. Yeah. I mean, it was pretty fun. And there were other characters, too, that like really. But like those are spoils for other seasons. So I can't really. A lot of the kids, they have they're just starting their arc, you know. But it was really helpful knowing the clear picture of everything so that we could really create themes that would last. The theme that I feel like kind of defines the show is it will never be the same. That's kind of like we keep hearing that kind of this is that you guys talked about how you wanted to play it. If you can play it simply. I'm paraphrasing exactly what you guys said in the interview. But you said play it simply or sing it simply like just so that's something you just came up with on the on the on the piano or something. And then just for like, we'll just build on that. Yeah, well, it took time to figure out how I mean, so that was an early demo. So that was like, it'll never be the same was was from the demos way back when. So that was probably the biggest one that stuck and now and run. Yeah, the opening sequence of episode one. But Madsen kept being like, if I had it my way, it'll never be the same would be the theme of the show. And we were just like, it's not like, it's not it's really sad. It's like all everything about it feels like you're just kind of like, falling back. And we were struggling to find a way to create a theme for that ending of episode one. We had like, so many different ideas, it was a week was horrible. And then we were toward the end of it. And again, having that just ring in our head that Madsen was like, if this could just be it. We took it'll never be the same, put the chords on guitar. And I feel like it's a good songwriting trick. Anytime I get stuck with songs, or you get too caught up with production, it's like, can you play it on guitar and sing it? And does it hold up? And if it doesn't, then maybe you got too many tricks going. And you know, you're relying on production too much, like, is it solid or not? So instead of, you know, playing it on piano, I just started palm muting the chords. And then we just started singing. And naturally, we sang it in a different way. It's like it's it's very similar melody lines, but it's swung in a more anthemic driving way. It's less sad. And then that just like opened it up. They're like, Oh, right, you can just play it'll never be the same like this. And then it feels like it has more agency and it feels like a theme. It kind of comes back in the end of the world. And underground. Those are the two times where I like really noticed that being replayed. And it's laced throughout as well. But like, those are the most distinctive moments specifically into the world. That's like when we were like, okay, now let's play it as sad as possible. That's an example of just like, it was completely low hanging fruit for so long, but it took us a while to see it. And then see it that just everything unlocks. Because with Run, which is, I believe that's the first song we hear that, you know, when she's, you know, trying to get away from the, you know, the Terminator, and it's kind of, you know, gets us all going. Like right into it, you got that little distorted voice that that comes in. Was that the voice you guys are talking about with the... It almost signifies that, you know, the Terminator is coming. Is that kind of what you guys were doing with that theme? Yeah. And specifically with the beginning of Run, we wanted to take acoustic instruments and distort them to hell. So I think a big one of that was violin samples and make them sound robotic. And we kind of like made them into like a scary melody line. And it wasn't... I think the piece of Run that we wrote to the demo, like was the demo, was once things pick up. Once you get the four on the floor action part, we had written that as a demo. So it was about like, we had that piece, but then we had to kind of build it a bit because it was like... And the scene was super long. Five or six minutes. So it was a lot more to do. Yeah, because you talked in previous interviews that you didn't want the Terminator to have like its own theme. You just kind of wanted like a sound cue for when he's coming. And I think for that, it was like this like two note bass line, like duh, duh, was one of the... There's a few different signifiers for like he's coming. And then there are the metal hits that we use whenever he's sort of like attacking. And then there's like a three note horn line that we use a few times when he's like really in action. But we wanted to keep it because he is not human. And the other characters, for the most part, are at least have human tendencies. Like he didn't... He didn't... He didn't deserve a human theme because he said he needed a, you know, a more robotic. Very atonal. Atonal. Yeah. But I like that, that you guys came in for that. Because the audience might not know that, you know, but subconsciously, they'll pick up on the fact that, you know, that that's happening there. One of the themes I really like that I don't think it's talked enough about is the traveling in time theme, where you've just got like this, it almost sounds like a bell or taking like a fork and you're just hearing this. Oh, there it is. Is this what it is? That's what it is. Top of a candle holder. I thought something like that. Yeah, it's like, and the other also have this bell that we use. These are just like tongue bells. Wow. So a lot of that. Yeah. A lot of sampling those running them through like a crystallizer. Yeah, found twice crystallizer, which made it much more swirly and washed out. Yeah, a great reference that Madsen brought up was the score to brick. I don't know if you remember that. Yeah, yeah, I know. Love that. And it has a ton of melodic bells. And that was a big inspiration. It does. And it was like, this felt like a moment where we could really do something different. Because a lot of the score, it can be really moody. It can feel like it's everything's really weighing on you. And this just kind of lifts us up. And it, it became a really good sonic palette for any time they're talking about time travel. There are other moments in the film or in the in the series where time travel comes up. And a lot of times where it was appropriate. You can hear a little swell of these bells. And yeah, exactly. I so what made you guys decide on on using bells to come up with that? I think it highlights everything because now she's alone. She's just witnessed her friends, supposedly all dead. And now she's in a new time period as she's erased the clock. And you're hearing just this distorted, you know, it just is like, all I kept feeling is like alone. It's distorted. What made you decide on bells or, you know, the candle holder? I think I think that that's, you know, a testament to direction for Matson of just like, Oh, check out brick. I think this this like scene from Rick, like kind of the vibe that could be cool. And then just, you know, a late night experimenting with bells and, yeah, and piano and other things. And, yeah, you know, just like trying something out. But it was nice to use. I like we still affected it quite a bit, but it was nice to use bells in a slightly more organic way. Because a lot of Kokoro, a lot of scenes with Kokoro have I use those tongue bells on a lot of that and filtered heavily with different pedals and distortion stuff. So like you have two versions of the bells, the AI version. Yeah, this was an opportunity to bring it back, but in a more natural way. Yeah, because I don't know that one just stands out so much to me because it's such a change from what we've heard in the series. That's what I really like about this score is it's like, it's not just relying on the same thing. It's you're going for something that I mean, it's bold. I mean, you could have just gone for this, you know, very determined score thing. But that's what really stands out to me is just the complexity of the music and just those different sounds. Talk a little bit about Choose and how you guys came to that. God. I've been talking a lot. No, but this sort of started with you. Well, so back when we were doing episode one, they were like, and you kind of even gotten the kick, but they were like, can you? Can you create like, a bunch of other music that we can like sprinkle in later for temp music later or something? They were starting episode, they were working on episodes like two and three, and we were still on one. And they were like, we would love you to write us some temp music so that we can animate to it. And we were like, Okay, hope we get the gig. Funny enough, they never got temp music since it was all this stuff. They probably worked on it, though. Maybe. But so we had this whole other group of songs, a lot of the character themes came from, from this, this push, and it was this, this was a potential Terminator theme. When we first wrote it, we thought that this could maybe be like the theme. It wasn't, and it wouldn't have been good for it. But we had this idea that was like half-baked, but it had like all the elements that you hear in Choose. And we were working on the last episode, and we're like, wow, we still haven't used this one idea. And we were watching this scene, the death scene. And, you know, oftentimes, sometimes you get lucky when you just throw things in. And we were like, okay, let's use this theme. And then it can be a theme that we can carry out through other seasons. And we just dropped it in and it just like, just took off. And we obviously changed it and made it way cooler. And we brought in the choir element, which was like really awesome. That was one of my favorite choir moments. Yeah. I think I have a video of us in the, at Air Studios, like that happening and us all listening to it. And it was one of those moments that like, you know, we'd written these choir parts and, you know, I usually will sing them in as my voice. So it's like a bunch of my voice stacked. And they were really dissonant and they were weird, but like getting in and hearing it with the choir, like it's like this pulsing, dissonant, crazy chords that hit really, really hard. And it was like a very intense experience to just be in this like iconic studio and hear them, like this like wall of sound coming out of just eight singers. Yeah. Very cool. And then- Just a real moment, you know? Yeah. Like probably what Beethoven felt when he discovered the Ninth Symphony. You know, just like, wow. Exactly that. Exactly. Bliss of God. Please like, share and subscribe. Thank you for watching. 00:00:00 - Introduction 00:00:05 - Scoring Process and Character Themes 00:01:40 - Spoilers and Character Development 00:01:55 - Musical Themes and Influences 00:04:31 - Creating the Theme 'It Will Never Be The Same' 00:07:43 - Creating the Theme 'Run' 00:10:13 - Creating the 'Traveling in Time' Theme 00:13:58 - Creating the Theme 'Choose' 00:17:00 - Conclusion

Spoiler Warning! Chris and Taylor review the sci-fi action anime series Terminator Zero developed by Mattson Tomlin. In 1997 Tokyo, Malcolm Lee is developing Kokoro, an AI system intended to compete with Skynet. The day before Judgement Day, Lee finds himself and his three children pursued by an unknown robot assassin and a mysterious soldier from the year 2022 has been sent to protect him. The voice cast includes Timothy Olyphant, Sonoya Mizuno, André Holland, Sumalee Montano, Armani Jackson, Gideon Adlon, Carter Rockwood, Ann Dowd, Julie Nathanson and Rosario Dawson. Follow us on: Instagram: https://www.instagram.com/thepotential_podcast/ X: https://x.com/thepotentialpod TikTok: https://www.tiktok.com/@thepotentialpodcast Support us on Patreon: patreon.com/thepotentialpodcast Thanks to our sponsor: AURA Get a 14-day free trial of Aura for individuals, couples and or their family by going to aura.com/potential 

Llena de discursos filosóficos como todo buen anime, Terminator Zero nos trae un vistazo a otra parte de la guerra contra Skynet, pero ahora no será Skynet vs la humanidad, gracias a Malcolm Lee un nuevo jugador, Kokoro, entra en el campo de batalla y no sabemos si es amigo o enemigo por lo que Malcolm tendrá que convencer a esta nueva I.A. de unirse a la humanidad, pero el tiempo corre y la fecha es agosto 29 de 1996, el día del Juicio Final. Síguenos en Facebook, Instagram y TikTok y escúchanos en las diferentes plataformas: https://linktr.ee/nerdifymx ¡Crea tu podcast hoy! #madeonzencastr. Utiliza nuestro link especial https://zencastr.com?via=nerdifymx⁠ y obten un descuento de Zencastr. Hackers por Karl Casey @ White Bat Audio | Donations (Sting) por Riot

Terminator Zero There may be no fate but what we make, but if this new animated take on the time travelling killer robot franchise is to be believed, there may be no fate at all! Before Terminator Zero we have had 6 Terminator movies, a Machinima series (?) a TV show exploring the wibbly-wobbly timey-wimey interactions of Skynet, the Terminators and the human survivors lead by John Connor. Now for the first time we're exploring what the rest of the world was doing at the same time... in Anime form thanks to Production IG and Netflix! We're all in the time bubble for this episode, though as we're all in the buff, our eyes are staying very firmly above the neck. SYNOPSIS In 1997 Tokyo, Malcolm Lee is developing Kokoro, an AI system intended to compete with Skynet. A day before Judgment Day, Lee finds himself and his three children pursued by an unknown robot assassin and a mysterious soldier from the year 2022 has been sent to protect him. https://youtube.com/live/DjTYDRszz0k?feature=share In this episode we also discussed: Trap Slow Horses Only Murderers in the Building and The Legend of Vox Machina A huge thank you to all our regular robotos who listen avidly to each edition of the show, especially those of you joining in on the live-chat during the Twitch stream this week (and every week!). If you haven't done so before, connect your internal modem and join in on our live show 7:30pm next Tuesday! Special love and thanks goes to those who have financially bolstered this podcast via dropping some their digital robo-coins into our Ko-Fi cup and now also by subscribing on Twitch! Your generosity is always appreciated! If you feel so inclined drop us a sub! The more subs we get the more Emotes You get! Every bit of your support helps us to keep the kabuki performers paid. Don't fret if you can't be there for the recording though as you can catch them on Youtube usually later that very night. Make sure to subscribe so you don't miss them!   https://youtu.be/1uRZ8CFExEY?si=IgI6BtKVD19L3GK2 WE WANT YOUR FEEDBACK! Send in voicemails or emails with your opinions on this show (or any others) to info@theperiodictableofawesome.com Please make sure to join our social networks too!  We're on: Youtube: https://www.youtube.com/user/TPToA/ Twitter: www.twitter.com/TPToA Facebook: www.facebook.com/PeriodicTableOfAwesome Instagram: www.instagram.com/theperiodictableofawesome/  

Over the next several weeks it is my pleasure to speak with many of the presenters at this year's conference and today, we will chat with 2 of these speakers. First is Kellie King who is leading a workshop names Design Thinking and the user experience. Then we spend some time with Malcolm Lee discussing his presentation using Lightburn the laser software.  Have a listen, hear a bit about both of the presentations and I'll be back next week with more sensational presenters. At this year's annual conference at the Brisbane convention centre from the 13th to the 14th of June.    And remember the 2024 Teacher Excellence Awards are looking for nominations right now so look to your left and look to your right. Because you may be sitting right next to someone who deserves to be applauded. There are two awards the Design and Technology teacher of the year and the contribution to design and technology education award for that person who is not a teacher but still does great things for our teaching area.  

Malcolm Lee is a stand up comedian, actor & producer. @malcolmeezylee vicisfunny.com @thevcast @vicizfunny @dojodoorguy Dojo of Comedy - Tiffscomedy.com @dojoofcomedy njnypooltableservice.com - A Team Pool Table Services is the tri-state area's top pool table service company. Combat Fitness Club - @combat_fitness_club Boxing & Fitness - Private Gym, Personal 1 on 1 Training, Boxing Sessions, & Cardio Boxing Classes - 186 Main St Ridgefield Park NJ Original beat used in the intro: Intranet by Yung Kartz (yungkartzbeats.com) and edited by Vic Cedeno (vicisfunny.com)

See omnystudio.com/listener for privacy information.

I got to talk to my boy, stand up comedian Malcolm Lee. I finally found someone I can talk wrestling with and not be called gay. Had a great time with Malcolm and I hope you enjoy! vicisfunny.com @thevcast @vicizfunny @dojodoorguy @malcolmeezylee njnypooltableservice.com - A Team Pool Table Services is the tri-state area's top pool table service company. EmpireSewerandWaterNJ.com - Empire Sewer And Water NJ is a family owned sewer and drain company based in New Jersey. We service everyone from residential homes/apartments, businesses, to industrial facilities. Our number one priority is to address your needs. Combat Fitness Club - @combat_fitness_club Boxing & Fitness - Private Gym, Personal 1 on 1 Training, Boxing Sessions, & Cardio Boxing Classes - 186 Main St Ridgefield Park NJ Original beat used in the intro: Intranet by Yung Kartz (yungkartzbeats.com) and edited by Vic Cedeno (vicisfunny.com)

We love the 90s and apparently… the TV and film industry as well.  EP Michael Wamble and Val the Voice are going back into time to the 90s.  We review the recent revival with Malcolm Lee's The Best Man - The Final Chapters and highlight other film and musical classics that made the 90s worth loving.

See omnystudio.com/listener for privacy information.

The program - called “We Win When Black Students Graduate” - is led entirely by Black staff. It takes an interdisciplinary, project-based approach, combining core subjects with afrocentric classes like storytelling and African drumming. Students and teachers say they came away inspired. --Feven Gerezgiher reports:A pilot summer program for Black students in Minneapolis Public Schools concludes its four week run this Friday. The program called “We Win When Black Students Graduate” is led entirely by Black staff. It takes an interdisciplinary, project-based approach, combining core subjects with afrocentric classes like storytelling, African drumming, and herbalism.“I would love to see more black teachers at our schools,” said Rising senior Kanye Bell.  He says he appreciated the teaching style and personal connections.“Most of my teachers are white. It's history they're teaching us but it's not the history we want to learn about. We want to learn about black history,” he said. “Not for like one month like February; I'm talking about actually like learning throughout the whole school year.”Bell says he felt welcome and supported in the program; he says he now wants to make the honor roll this year. “All the teachers are pushing me to get the credits and graduate on time. It just made me open my eyes,” he said. “LIke, the work's not hard, especially when you've got a team actually motivated to help you. And they're here for you.”The summer school was a collaborative effort between the school district's Office of Black Student Achievement, the WE WIN Institute, and the Racial Justice Network.Malcolm Lee teaches math at North Community High during the school year. He says the four weeks have been both inspirational and emotional. “I know for me that some of our students have actually opened up about their personal experience, what's going on outside of school, which actually builds up the relationship,” said Lee. “There's something very powerful and poignant and just paramount about that with the students' experience here.”The Office of Black Student Achievement says community partnerships are key to Black students' success. 

Ep 128 of Real Black News features the top five empowering Black news stories of the week and this week's two guests. The first is writer and director Malcolm Lee who discusses his new mega movie Space Jam:  A New Legacy.  He talks the ins and outs of directing for animation, plus his new journey and lessons in television as he writes and produces his upcoming TV show The Best Man: Final Chapters based on his classic film The Best Man (starts 8:27). While Sascha Penn, the Showrunner of one of this summer's hottest shows, Power Book III: Raising Kanan, joins the podcast to break down the making of the latest installment in the Power franchise with Courtney A. Kemp and 50 Cent. Plus he shares golden, must-listen advice for writers (starts 31:25). Other topics include Jamaica's reparations, Black Girls Lead, the NAACP's Bail Fund, Virginia's entrepreneur fair for youth business owners, plus more of the top five empowering Black News stories of the week. #RealBlackNews

This episode is part 2 of a conversation with Sam Amis, former Nike footwear and "innovation kitchen" designer and Director of Product Design at The James Brand, and Malcolm Lee, SVP of Financial Center Design at Bank of America. Sam and Malcom each have more than a decade of experience progressing their careers through a variety of design roles at boutique firms, high end consultancies, startups, and large corporations. In this episode we discuss the transition from focusing on craft and execution to setting a vision for other creatives as design leaders. They'll also share memorable educational moments, and the joy of finding and translating creative inspiration from unexpected sources. University of Cincinnati architecture student Alex Phinney also joins the conversation. This episode was recorded on location at The James Brand in Portland, OR.

Today's episode features Sam Amis, former Nike footwear and "innovation kitchen" designer and Director of Product Design at The James Brand, and Malcolm Lee, SVP of Financial Center Design at Bank of America. Sam and Malcom each have more than a decade of experience progressing their careers through a variety of design roles at boutique firms, high end consultancies, startups, and large corporations. In this episode they'll share some practical advice for navigating the early years of a design career, and knowing how and when it's time to pivot to what's next. We're also joined by University of Cincinnati design student Alex Phinney, sharing her perspective on re-framing and re-setting before your career officially begins. This episode was recorded on location at The James Brand in Portland, OR.

Holly Hubsher is the Creative Executive at Anton, a film and television financier. She helps oversee development, production and acquisitions of the entire Anton slate, including the Gerard Butler action movie GREENLAND that just came out on PVOD. Before Anton, Holly worked at Universal Studios in the film development and production department, assisting on films like MAMMA MIA 2 and Malcolm Lee's NIGHT SCHOOL. Holly started her career at William Morris Endeavor in the motion picture literary department after graduating from the University of Southern California. In this episode of How Do You Do? Podcast, Ben asks Holly to share what she looks for in scripts and how her evaluation process has evolved over time (3:22), collaborating with filmmakers and how she approaches giving creative notes (13:22), the keys to a successful pitch (30:30), and more. Follow us! Holly Hubsher: https://antoncorp.com/ ( https://www.instagram.com/joshfromalfred/ ) How Do You Do? Podcast: @hdydpod ( https://www.instagram.com/hdydpod/ ) Ben: @benhannani ( https://www.instagram.com/benhannani/ ) Website: www.hdydpod.com ( https://www.hdydpod.com/ ) Our guests' jams can be found on the "HDYD Jams" playlist ( https://open.spotify.com/playlist/4tBdUz3kXb1T5im2CzSBUV?si=qc_DgVSCR1W65phsuv6vVQ ) on Spotify!

October 22, 1999 Malcolm Lee’s The Best Man was released and changed our lives! Joe and Calvin break it down so that it’s forever broken!

I make a plea for Malcolm Lee @malcolmdlee to finish the story of The Best Man series and make the third film. This is an ode to the films from the late 90s to early 2000 that highlighted black excellence. Join me in asking #wheresthebestman Join the conversation on social media. www.xennialcinephile.com --- This episode is sponsored by · Anchor: The easiest way to make a podcast. https://anchor.fm/app

Ep. 78 of Real Black News features good news stories with special guest Psychotherapist Camille Banks-Lee sharing tips on managing anxieties and preserving mental health during the quarantine. Camille discusses how to find a therapist, how to push through creative blocks, children, and relationship tips from her 20-year marriage to writer/director Malcolm Lee. While Lisa Russell, a filmmaker and curator with the World Health Organization, skypes in from Kenya to discuss Covid-19 in Africa. Other topics include cash giveaways in Stockton, CA, Shea Moisture, and Ava DuVernay’s virtual African movies.

A CALIFORNIA NATIVE, YOLANDA HUNT BEGAN HER CAREER IN CASTING WITH THE “LATE GREAT” DIRECTOR/PRODUCER JOHN SINGLETON ON THE MUSIC VIDEO CLASSIC “REMEMBER THE TIMES” BY THE LATE LEGENDARY POP ICON MICHAEL JACKSON. SOON AFTER, UNDER THE DIRECTION OF HER MENTOR CASTING GURU, ROBI REED. YOLANDA LANDED THE TITLE OF CASTING ASSISTANT ON THE CLASSIC MOVIE POETIC JUSTICE WITH RAPPER TUPAC SHAKUR AND YET ANOTHER JACKSON FAMILY GREAT, SINGER JANET JACKSON. YOLANDA HAS BEEN KNOWN FOR SOME OF THE BEST CASTING IN THE BUSINESS. HER NAME IS ON SPEED DIAL WITH MANY ENTERTAINMENT'S TOP BEHIND THE SCENES ELITE, SUCH AS KEENAN IVORY WAYANS, MALCOLM LEE, HUGHES BROTHERS, STAN LATHAN, DAVE MEYERS AND CASTING DIRECTORS: KIM HARDIN, LEAH DANIELS BUTLER AND RISA BRAMON GARCIA. HER CASTING ASSOCIATE TELEVISION AND MOVIE CREDITS INCLUDE; SISTER TO SISTER AND MOESHA, THE PJ'S, THE BEST MAN, CROOKLYN, KINGDOM COME, LIGHT IT UPAND GRIDLOCK'D. HER WORK HAS BEEN SEEN ON THE KEENAN IVORY WAYANS SHOW, COCOA COLA/SPRITE NATIONAL COMMERCIALS AND IN MUSIC VIDEOS FOR TOP ARTISTS; JAY-Z, WILL SMITH AND AEROSMITH. MOST RECENTLY, YOLANDA'S CASTING CAN BE SEEN IN THE PRODUCTION OF OSCAR AND EMMY AWARD WINNING REGINA KING'S DIRECTORIAL DEBUT “ONE NIGHT IN MIAMI”; ALSO CASTING ALONGSIDE HER MENTOR ROBI REED THE BET MINISERIES “UPTOWN RECORDS” ON THE LIFE OF ICONIC MUSIC EXECUTIVE ANDRE HARRELL. Learn more about your ad-choices at https://www.iheartpodcastnetwork.comSee omnystudio.com/listener for privacy information.

A CALIFORNIA NATIVE, YOLANDA HUNT BEGAN HER CAREER IN CASTING WITH THE “LATE GREAT” DIRECTOR/PRODUCER JOHN SINGLETON ON THE MUSIC VIDEO CLASSIC “REMEMBER THE TIMES” BY THE LATE LEGENDARY POP ICON MICHAEL JACKSON. SOON AFTER, UNDER THE DIRECTION OF HER MENTOR CASTING GURU, ROBI REED. YOLANDA LANDED THE TITLE OF CASTING ASSISTANT ON THE CLASSIC MOVIE POETIC JUSTICE WITH RAPPER TUPAC SHAKUR AND YET ANOTHER JACKSON FAMILY GREAT, SINGER JANET JACKSON. YOLANDA HAS BEEN KNOWN FOR SOME OF THE BEST CASTING IN THE BUSINESS. HER NAME IS ON SPEED DIAL WITH MANY ENTERTAINMENT'S TOP BEHIND THE SCENES ELITE, SUCH AS KEENAN IVORY WAYANS, MALCOLM LEE, HUGHES BROTHERS, STAN LATHAN, DAVE MEYERS AND CASTING DIRECTORS: KIM HARDIN, LEAH DANIELS BUTLER AND RISA BRAMON GARCIA. HER CASTING ASSOCIATE TELEVISION AND MOVIE CREDITS INCLUDE; SISTER TO SISTER AND MOESHA, THE PJ'S, THE BEST MAN, CROOKLYN, KINGDOM COME, LIGHT IT UPAND GRIDLOCK'D. HER WORK HAS BEEN SEEN ON THE KEENAN IVORY WAYANS SHOW, COCOA COLA/SPRITE NATIONAL COMMERCIALS AND IN MUSIC VIDEOS FOR TOP ARTISTS; JAY-Z, WILL SMITH AND AEROSMITH. MOST RECENTLY, YOLANDA'S CASTING CAN BE SEEN IN THE PRODUCTION OF OSCAR AND EMMY AWARD WINNING REGINA KING'S DIRECTORIAL DEBUT “ONE NIGHT IN MIAMI”; ALSO CASTING ALONGSIDE HER MENTOR ROBI REED THE BET MINISERIES “UPTOWN RECORDS” ON THE LIFE OF ICONIC MUSIC EXECUTIVE ANDRE HARRELL. Learn more about your ad-choices at https://www.iheartpodcastnetwork.comSee omnystudio.com/listener for privacy information.

This week’s episode 42 of Real Black News features playwright, screenwriter, and director Radha Blank on writing and being a producer on season 2 of  Spike Lee’s “She’s Gotta Have It” and writing Malcolm Lee’s upcoming film Real Talk. Radha shares her creative process, writing tips, and experience as a young person in a gang. Entertainment journalist Ronda Racha Penrice joins “The Screen Grab” to discuss Yara Shahidi, The Sun is Also a Star, African superhero Shadow, and why Oprah shut down “60 Minutes.” Other topics include diabetes and doctors in the black community, HBCU’s in Africa, and more.

Ep. 13 (September 16, 2018): Features the top 5 black news stories of the week with special guests including Malcolm D. Lee, writer & director of the upcoming film “Night School” starring Kevin Hart and Tiffany Haddish. Lee discusses his past movies, process, being black in Hollywood and his thoughts on everything from police brutality and the murder of Botham Jean to voting and the midterm elections. Other guests include the family of Everett Palmer, a black man whose organs went missing after being killed in Pennsylvania police custody. Gabrielle Glore, Festival Director and Head Programmer of the Urbanworld Film Festival joins “The Black Hollywood Report” with guest reporter Wilson Morales Editor in Chief of Blackfilm.com who gives a review on standout movies of the Toronto Film Festival.

This week on Black on Black Cinema, the guys return to discuss the 1999 film, The Best Man. Starring Taye Diggs, Morris Chestnut, Terrence Howard, Sanaa Lathan, and Nia Long. The film follows four friends post-college who are gathering for their friend's wedding all before the release of a book that is a semi-fictional retelling of their college life. Lines get crossed, old flames re-emerge, and new revelations hit the forefront in this Malcolm Lee directed movie. Set in the golden age of modern Black cinema (the 1990s) when being Black meant being successful without hesitation and telling personal human stories without backgrounds of violence, racism, or drugs.

The biggest night in Black Film happens tonight as we celebrate and announce the winners of the 18th Black Reel Awards. Join us as we honor the best and brightest of film from 2017. Pacing the field with 12 nominations, Jordan Peele's Get Out was a critical and cultural touchstone that resonated with film audiences all year. Other notable films that will be represented this evening is Malcolm Lee's hilarious comedy, Girls Trip, Dee Rees' adaptation of Hilary Jordan's book, Mudbound, the powerful re-telling of the brutal incident at the Algiers Motel depicted in Detroit, and an early look at a future Supreme Court Justice in Reginald Hudlin's drama, Marshall. We'll also salute this year's Special Achievement Honorees, Cicely Tyson, Spike Lee, Jordan Peelle and Oprah Winfrey all during the 18th Annual Black Reel Awards . . . 

The biggest night in Black Film happens tonight as we celebrate and announce the winners of the 18th Black Reel Awards. Join us as we honor the best and brightest of film from 2017. Pacing the field with 12 nominations, Jordan Peele's Get Out was a critical and cultural touchstone that resonated with film audiences all year. Other notable films that will be represented this evening is Malcolm Lee's hilarious comedy, Girls Trip, Dee Rees' adaptation of Hilary Jordan's book, Mudbound, the powerful re-telling of the brutal incident at the Algiers Motel depicted in Detroit, and an early look at a future Supreme Court Justice in Reginald Hudlin's drama, Marshall. We'll also salute this year's Special Achievement Honorees, Cicely Tyson, Spike Lee, Jordan Peelle and Oprah Winfrey all during the 18th Annual Black Reel Awards . . . 

Tune in for another special edition of That's Entertainment as I interview actor Harold Perrineau.  Perrineau has starred in countless roles in every catagory from stage, television and films.  His break-out role was the  paraplegic prisoner in the acclaimed HBO drama series, "Oz."  He is also known to millions of viewers as "Michael Dawson" in the Golden Globe-winning and Emmy-nominated series, "Lost."  And who can forget the lovable "Julian Murch" in Malcolm Lee's hit movies, "The Best Man" and "The Best Man Holiday" which also starred Terrence Howard, Taye Diggs and Morris Chestnut.  Now he will be playing an angel in the new dark, supernatural drama, "Constantine"  that premiers on Friday night on NBC.  Join me as I talk with the multi-talented and versatile, Harold Perreneau, on Thursday, October 23 at 10:00am ET on www.blogtalkradio.com/tammyjones-gibbs Follow on twitter - thatsentertain1 Like on fb - www.facebook.com/thatsentertainment.radio 

Malcolm Lee makes movies. But in the world of black filmmakers he holds a special spot. When you think about African-American love stories or romantic comedies, a few films immediately come to mind… Love and Basketball, Boomerang, Love Jones, Claudine (if you’re older) or  Think Like a Man  (if you’re younger) … Maybe even Two […]

This week on the BIG show, writer/director Malcolm Lee and co-star Monica Calhoun will be our special guests to discuss the upcoming romantic comedy, The Best Man Holiday. Plus, we'll have entertainment news and reviews, including The Book Thief on Episode 228 of Keeping It Reel with FilmGordon.

This week on the BIG show, writer/director Malcolm Lee and co-star Monica Calhoun will be our special guests to discuss the upcoming romantic comedy, The Best Man Holiday. Plus, we'll have entertainment news and reviews, including The Book Thief on Episode 228 of Keeping It Reel with FilmGordon.

This week on the BIG show, writer/director Malcolm Lee and co-star Monica Calhoun will be our special guests to discuss the upcoming romantic comedy, The Best Man Holiday. Plus, we'll have entertainment news and reviews, including The Book Thief on Episode 228 of Keeping It Reel with FilmGordon.