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The World According to Lee Daniels

The World According to Lee Daniels (photo)

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Director, producer and general force of nature Lee Daniels is a hot property these days. So hot that two studios, Lionsgate and the Weinstein Company, are suing each other over the rights to distribute his second directorial effort, “Precious,” the winner of both the jury and audience awards at Sundance earlier this year. Lawsuits willing, “Precious” opens in the fall, and in the meantime Daniels has “Tennessee” in theaters, a small-scale Americana-steeped road movie he produced under his own banner of Lee Daniels Entertainment. “Tennessee,” directed by David Cronenberg nephew Aaron Woodley, has the distinction of containing the first Mariah Carey acting role to officially see theaters since “Glitter,” something that was looked upon as potentially laughable when the film premiered at Tribeca last year, but that seems a lot less so now, in light of the singer’s praised turn as a social worker in “Precious.”

It’s that fearlessness with material, casting and subject matter that’s made Daniels’ filmmaking career so fascinating, from its 2001 start with the Oscar-winning “Monster’s Ball” through his… let’s just call it “indescribable” debut as a director with 2005’s Helen Mirren-Cuba Gooding Jr. assassin drama “Shadowboxer.” “Often times people ask me, ‘How do you get into the film business? What do you do?’ And I don’t have that answer,” Daniels told me over the phone. “The only thing I have is determination, and determination is what ultimately got me my first movie made.” And certainly a willingness to color outside the lines, which may be why our interview didn’t into any typical Q&A template. Instead, it seemed better to just let Daniels describe for himself the idiosyncratic path he’s been blazing, with what’s so far been remarkable success, through the indie film world.


I came to Hollywood to write, and found out I don’t have the attention span. I moved on to a nursing agency as a receptionist just to get a job, and ended up managing it, which led to me opening my own — say your mom is sick and needs someone to help her, then you call something like what I had, a home health agency.

I was taking care of the mother of this producer who [hadn’t realized] that I was black and 22 and had, like, 500 nurses. We became friends. I think he was blown away that I was so young. His mother was in my hands! I hadn’t gone to med school. He said, “I think you’d be a really good producer. You know talent. You should start out [as a] PA.” He was working on “Under the Cherry Moon,” Prince’s film. So I sold the nursing agency; just sold it. Like I’m crazy. Made a couple million and was running around as a PA in a Porsche and an Armani suit.


I left to open a casting agency, casting these Harlequin romances and working at Warner Bros. I was bored, because they stereotyped me into just casting for African-American things. It was pre-Spike Lee and post-the black exploitation era, so there wasn’t much of anything for me. I said, “Okay, I’ll start managing actors.” I took everything I knew about the arts and mixed it with the concept of representing nurses. I navigated actors’ careers, mostly African-American, eclectic, off-the-wall people I was obsessed with, not your run of the mill actors. I focused, really, in theater, though TV was where the money was. In walks an actor that I saw in a play at Julliard. His name was Wes Bentley. I put him in “American Beauty,” his first job, which was the norm for me because I was finding actors in weird places.

06102009_monstersball.jpg“Monster’s Ball” (2001)

Wes was one of the first white actors that I was representing. Incredible material started coming to me. I decided it was time for me to produce. Wes was going to be a vehicle for me producing — he’d just completed “American Beauty,” the hottest thing out at that moment — except he didn’t do what I asked him to. He committed to “Monster’s Ball” and at the last minute pulled out. Lionsgate was like, “Okay, you have 48 hours to find another star,” or the movie was gonna be canned. Literally, the 48th hour, Heath Ledger agreed to do it. That was my first film. I was the sole producer, and I was learning.

I didn’t have the sensibilities of your ordinary filmmaker, let alone your ordinary African-American filmmaker. My heroes were John Waters, Pedro Almodóvar, and actors that were part of that world. Different. Tons of famous directors wanted to do [“Monster’s Ball”], and I knew that to get recognition as a producer I had to find a discovery. I didn’t want to ride on anybody’s coattails and I didn’t want to get anybody like famous so I could be their producer. So I chose Marc [Forster] — I was blown away by the little film that he gave me, and I knew he’d bring a fresh eye to racism because he was European, he wasn’t from that world.

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WTF Films

Artfully Off

Celebrity All-Star by Sisters Weekend is available now on IFC's Comedy Crib.

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Sisters Weekend isn’t like other comedy groups. It’s filmmaking collaboration between besties Angelo Balassone, Michael Fails and Kat Tadesco, self-described lace-front addicts with great legs who write, direct, design and produce video sketches and cinematic shorts that are so surreally hilarious that they defy categorization. One such short film, Celebrity All-Star, is the newest addition to IFC’s Comedy Crib. Here’s what they had to say about it in a very personal email interview…


IFC: How would you describe Celebrity All-Star to a fancy network executive you just met in an elevator?

Celebrity All-Star is a short film about an overworked reality TV coordinator struggling to save her one night off after the cast of C-List celebrities she wrangles gets locked out of their hotel rooms.

IFC: How would you describe Celebrity All-Star to a drunk friend of a friend you met in a bar?

Sisters Weekend: It’s this short we made for IFC where a talent coordinator named Karen babysits a bunch of weird c-list celebs who are stuck in a hotel bar. It’s everyone you hate from reality TV under one roof – and that roof leaks because it’s a 2-star hotel. There’s a magician, sexy cowboys, and a guy wearing a belt that sucks up his farts.


IFC: What was the genesis of Celebrity All-Star?

Celebrity All-Star was born from our love of embarrassing celebrities. We love a good c-lister in need of a paycheck! We were really interested in the canned politeness people give off when forced to mingle with strangers. The backstory we created is that the cast of this reality show called “Celebrity All-Star” is in the middle of a mandatory round of “get to know each other” drinks in the hotel bar when the room keys stop working. Shows like Celebrity Ghost Hunters and of course The Surreal Life were of inspo, but we thought it
was funny to keep it really vague what kind of show they’re on, and just focus on everyone’s diva antics after the cameras stop rolling.

IFC: Every celebrity in Celebrity All-Star seems familiar. What real-life pop personalities did you look to for inspiration?

Sisters Weekend: Anyone who is trying to plug their branded merch that no one asked for. We love low-rent celebrity. We did, however, directly reference Kylie Jenner’s turd-raison lip color for our fictional teen celebutante Gibby Kyle (played by Mary Houlihan).


IFC: Celebrity seems disgusting yet desirable. What’s your POV? Do you crave it, hate it, or both?

Sisters Weekend: A lot of people chase fame. If you’re practical, you’ll likely switch to chasing success and if you’re smart, you’ll hopefully switch to chasing happiness. But also, “We need money. We need hits. Hits bring money, money bring power, power bring fame, fame change the game,” Young Thug.


IFC: Who are your comedy idols?

Sisters Weekend: Mike grew up renting “Monty Python” tapes from the library and staying up late to watch 2000’s SNL, Kat was super into Andy Kaufman and “Kids In The Hall” in high school, and Angelo was heavily influenced by “Strangers With Candy” and Anna Faris in the Scary Movie franchise, so, our comedy heroes mesh from all over. But, also we idolize a lot of the people we work with in NY-  Lorelei Ramirez, Erin Markey, Mary Houlihan, who are all in the film, Amy Zimmer, Ana Fabrega, Patti Harrison, Sam Taggart. Geniuses! All of Em!

IFC: What’s your favorite moment from the film?

Sisters Weekend: I mean…seeing Mary Houlihan scream at an insane Pomeranian on an iPad is pretty great.

See Sisters Weekend right now on IFC’s Comedy Crib

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Reality? Check.

Baroness For Life

Baroness von Sketch Show is available for immediate consumption.

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Baroness von Sketch Show is snowballing as people have taken note of its subtle and not-so-subtle skewering of everyday life. The New York Times, W Magazine, and Vogue have heaped on the praise, but IFC had a few more probing questions…

IFC: To varying degrees, your sketches are simply scripted examples of things that actually happen. What makes real life so messed up?

Aurora: Hubris, Ego and Selfish Desires and lack of empathy.

Carolyn: That we’re trapped together in the 3rd Dimension.

Jenn: 1. Other people 2. Other people’s problems 3. Probably something I did.

IFC: A lot of people I know have watched this show and realized, “Dear god, that’s me.” or “Dear god, that’s true.” Why do people have their blinders on?

Aurora: Because most people when you’re in the middle of a situation, you don’t have the perspective to step back and see yourself because you’re caught up in the moment. That’s the job of comedians is to step back and have a self-awareness about these things, not only saying “You’re doing this,” but also, “You’re not the only one doing this.” It’s a delicate balance of making people feel uncomfortable and comforting them at the same time.


IFC: Unlike a lot of popular sketch comedy, your sketches often focus more on group dynamics vs iconic individual characters. Why do you think that is and why is it important?

Meredith: We consider the show to be more based around human dynamics, not so much characters. If anything we’re more attracted to the energy created by people interacting.

Jenn: So much of life is spent trying to work it out with other people, whether it’s at work, at home, trying to commute to work, or even on Facebook it’s pretty hard to escape the group.

IFC: Are there any comedians out there that you feel are just nailing it?

Aurora: I love Key and Peele. I know that their show is done and I’m in denial about it, but they are amazing because there were many times that I would imagine that Keegan Michael Key was in the scene while writing. If I could picture him saying it, I knew it would work. I also kind of have a crush on Jordan Peele and his performance in Big Mouth. Maya Rudolph also just makes everything amazing. Her puberty demon on Big Mouth is flawless. She did an ad for 7th generation tampons that my son, my husband and myself were singing around the house for weeks. If I could even get anything close to her career, I would be happy. I’m also back in love with Rick and Morty. I don’t know if I have a crush on Justin Roiland, I just really love Rick (maybe even more than Morty). I don’t have a crush on Jerry, the dad, but I have a crush on Chris Parnell because he’s so good at being Jerry.



IFC: If you could go back in time and cast yourselves in any sitcom, which would it be and how would it change?

Carolyn: I’d go back in time and cast us in The Partridge Family.  We’d make an excellent family band. We’d have a laugh, break into song and wear ruffled blouses with velvet jackets.  And of course travel to all our gigs on a Mondrian bus. I feel really confident about this choice.

Meredith: Electric Mayhem from The Muppet Show. It wouldn’t change, they were simply perfect, except… maybe a few more vaginas in the band.

Binge the entire first and second seasons of Baroness von Sketch Show now on and the IFC app.

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G.I. Jeez

Stomach Bugs and Prom Dates

E.Coli High is in your gut and on IFC's Comedy Crib.

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Brothers-in-law Kevin Barker and Ben Miller have just made the mother of all Comedy Crib series, in the sense that their Comedy Crib series is a big deal and features a hot mom. Animated, funny, and full of horrible bacteria, the series juxtaposes timeless teen dilemmas and gut-busting GI infections to create a bite-sized narrative that’s both sketchy and captivating. The two sat down, possibly in the same house, to answer some questions for us about the series. Let’s dig in….


IFC: How would you describe E.Coli High to a fancy network executive you just met in an elevator?

BEN: Hi ummm uhh hi ok well its like umm (gets really nervous and blows it)…

KB: It’s like the Super Bowl meets the Oscars.

IFC: How would you describe E.Coli High to a drunk friend of a friend you met in a bar?

BEN: Oh wow, she’s really cute isn’t she? I’d definitely blow that too.

KB: It’s a cartoon that is happening inside your stomach RIGHT NOW, that’s why you feel like you need to throw up.

IFC: What was the genesis of E.Coli High?

KB: I had the idea for years, and when Ben (my brother-in-law, who is a special needs teacher in Philly) began drawing hilarious comics, I recruited him to design characters, animate the series, and do some writing. I’m glad I did, because Ben rules!

BEN: Kevin told me about it in a park and I was like yeah that’s a pretty good idea, but I was just being nice. I thought it was dumb at the time.


IFC: What makes going to proms and dating moms such timeless and oddly-relatable subject matter?

BEN: Since the dawn of time everyone has had at least one friend with a hot mom. It is physically impossible to not at least make a comment about that hot mom.

KB: Who among us hasn’t dated their friend’s mom and levitated tables at a prom?

IFC: Why do you think the world is ready for this series?

BEN: There’s a lot of content now. I don’t think anyone will even notice, but it’d be cool if they did.

KB: A show about talking food poisoning bacteria is basically the same as just watching the news these days TBH.

Watch E.Coli High below and discover more NYTVF selections from years past on IFC’s Comedy Crib.

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